Radix, (Bilora), Germany The maker was Kürbi & Niggeloh, Radevormwald, Germany. The Biloxar anastigmat may be bought in but has their name. It was sold in the UK in large numbers in the 1950's on the Radix camera for 24x24mm in at least two apertures. Other lenses were Radionar f3.5. Biloxar f5.6 38mm Biloxar f3.5 38mm (1951).

Rank Audiovisual/Rank Photographic Ltd. The Rank organization were agents for several Japanese brands into the 1970's. These included Nikon, Pentax, Mamiya, beginning with the take over of Pullin Optical, who were the Nikon agents in 1964 with Neville Brown, its subsidiary. With Sankyo cine cameras this made Rank the biggest importer of photographic goods in the UK. The name occurs on lenses listed as Rank/Taylor, Taylor and Hobson Ltd listed under TTH below.

Fig 021 008 Rank/TTH Sopelem f1.3/15mm CCTV lens. (Made in France).

Rapid Rectilinear= Rapid Aplanat. This was the standard 19 Century lens when the greater speed of the Petzval Portrait was not needed. For the origin, see Dallmeyer and Steinheil, and the almost complete coincidence of their discoveries. Both seem to have used various types of flint glass exclusively, but books often refer to the use of crown+flint- surely not always in error, though Traill Taylor says it is impossible to produce with ordinary flint and crown. Unusually dense crown is acceptable however. But there are some points to note. Firstly, the Steinheil seems to be drawn with rather thicker glasses and secondly it seems to be often an f7.0 rather than the f7.7 of the Dallmeyer. Also that the choice available today is quite wide. (1) Originally, they were issued as a wide angle RR at f16 maximum aperture, and extended (2) to a normal angle lens at f7.7. But two other types were sold. (3) The portrait RR was slowly extended from about f5.0 to f4.0 and provided a lens nearly as fast as the Petzval but with more even sharpness over the image. And the weight of the f7.7 in the larger sizes forced makers to consider an answer, and the result was (4) the Portable RR working at about f11, which was the answer for many outdoor workers. Often, the cells were of slightly different focus though there was an opinion then that ones of equal focus were preferable. Lastly (5) there were also sets of cells sold as casket sets, to offer a range of focal lengths. (6) Another type was the Detective Aplanat, typically at about f6.

The original RR's were poorly corrected for astigmatism, though the designs certainly improved with time. However the sale of Jena glass from about 1886 allowed the introduction of new designs with better corrections, while the old glasses were still used on cheaper, often anonymous lenses. Thus the above 6 types can be imagined as doubled since most of them could be in old glass or use new. Most of these will be in brass finish, though later types are in shutters and may be in black enamel. And finally there was a tendency for the German and other optical companies to continue the RR or Aplanat for projection well after they had ceased to use it for taking lenses. This has produced some exotica as the existence of a real Zeiss Aplanat is otherwise unlikely, but note that these were designed for use over a narrower angle rather than for in camera use. The RR is actually a really viable lens today provided it is not pushed too hard- use small apertures, and not the full angle illuminated,- and it was made well into the 20Century, though sales after 1920 must have dwindled to a trickle. It is noticeable that both American Annuals of Photography for 1939 and 1947 have articles on users of RR's: One was William H. Jackson (1843- 1937?) who pioneered photography over the West of USA and lived well into the modern period, and made still impressive pictures on formats up to 20x24in, on wet plate before enlarging was normal. (1868-1880). The camera was transported on a mule, and there is a shot of his horsedrawn darkroom on wheels also. Lenses included Ross Symmetricals, Portable Symmetricals, and a (Voigtlaender?) Euryscope- he preferred the Ross lenses, but this may be due to the focal length available as he notes using a single cell as a long lens, eg at f50 for 3 or 4 min exposure, also f32 and even f16 with the Portable Symmetrical.(Annual 1939, p216). A later user was F. J. Mortimer (1874-1944) who made many of his well known negatives as a young man working on the beach or small boats off the South of England (Southsea) and used them for many years while the respected Assistant Editor of the Amateur Photographer, The Photographic News and editor of the Amateur Photographer (1908-1944) and influential in the R.P.S., untill killed by a flying bomb in 1944. He used a camera fitted inside an outer box to keep off spray, with RR and a focal plane shutter, often at f16, the choice being to limit the cost of what was really nearly a disposable camera. Note also Eidoscop used by J. O. Echague.(1950 Edition). The RR was available on new cameras as late as 1926 or probably even 1930. Some late users were the O.Sichel camera in B.J.A. 1926, p312 and the Kodak folders of the same dates. It was still a fully viable design, but not too cheap to make; in fact, probably the cost was little less than a triplet of the same speed and the term Anastigmat was valuable. So the RR came to the end of the road. A Kodak Series III of this date (B.J.A. 1926, p317) seems only to have an anastigmat, with a very sharp image -- right to the edge. Today, RR prices tend to be low or scrap, except for the Portrait lenses or where there is a definite connexion with some particular camera. The anonymous versions are nearly valueless and often of makeshift quality. One feature is the very large number engraved apparently with the names of the shops which originally sold them in the 19C, so that the number of names here can be very large. These are themselves a fascinating aspect if a minor one.

Rathenauer- see E. Busch, Rathenow, about 1900. We thank R. Watson (UK) and H. Schrauf (Germany) for additional information on Rathenau and its companies. Information would still be useful on the dates during which Busch traded as ROIA rather than as Busch as this could be a good way of dating lenses about 1900.

Rau, Wetzlar, Germany. They are noted for one lens only: there may be others. Optar f2.8 20mm (c.1955) for Fotal 8x12mm. (The trade name is much better known in the Graphic connotation.)

Ravilious, J. (1939-1999) In 1996, he published a book 'A Corner of England' pub Devon Books, (Tel 01884 243242) based on negatives shot with old uncoated lenses and tended to prefer these, both as Elmars in 35mm and Tessars in large formats. Also 'The heart of the Country' and 'An English Eye'. (See 'Country Life' by P.Hamilton in B.J.P. 30/10/1996 p20) Sadly, he did not detail which lenses were used in 'Corner', merely saying he used Leica rangefinder cameras often with 35mm lenses, especially the earlier uncoated ones. His books are a fine example of what can be done with them today on modern materials.

Raynox, brand name agented by Photopia, Newcastle, Staffs, UK about 1974. The lenses were listed for Pentax M42 and Minolta only as follows. f3.5, 25mm; f2.8, 28mm; f2.8, 35mm; f2.8, 135mm; f3.5, 200mm; f4.0 Zoom, 90-210mm.

Record Keeping There are very real advantages in keeping good records of a collection. At the least, these can help with an insurance claim in the event of a loss by theft or fire, but actually much more is possible in recording the development of a collection and the prices paid or thought to apply. And in time this can develop real historical value. Many of the serial numbers in the Vademecum have been made available from collectors lists of items. Normally the record might contain for each item:

Date of aquisition Original maker Trade name of lens design Serial number Maximum aperture (and minimum perhaps) Focal length Weight (perhaps) Finish such as brass or enamel or chrome Any short note such as "fits Korelle" Purchase price (and present value if known!)

Note that the price of a lens is less well defined than the price of a camera, which can be fairly indeterminate itself. Thus there is a less active market in lenses with fewer items and less publicity than with cameras, where there are well regarded price guides to form a basis for a deal. In general, prices are often lowest between private individuals and increase in order for purchases from Fairs, from Auctions and finally from dealers. But note that a dealer may offer a worthwhile warranty and have to pay taxes on his sale where the others are able to avoid this.

Prices also can vary quite unpredictably when an item may suddenly become fashionable and the limited supply means the price quickly rises. This has occurred recently with older movie lenses and before that with Voigtlaender ApoLanthar lenses, and some soft focus lenses. But long term the fact is that prices have tended to rise on most items due to the limited number of lenses available and the increasing numbers of collectors. Examples from one collection (now dispersed), which looked for non-Leitz lenses in M39x26TPI for the Leica showed:

1985? Den Oude Minor No493,30x f3.5/35mm £25 1975 Carl Zeiss Biotar No?? f1.4/50mm £70 1983 National Optical No354,19x f2/50mm £89 1977 Taylor, Hobson Speed Panchro f2/75 ?? £40 1980 Ross, London Xtralux f4.5/135mm £25

There is no doubt that today such as list is best kept on a computer in one of the database or spreadsheet programmes. These are able to store large amounts of data compactly, even though the print-out can be clumsy. And the record can be also kept on floppy or compact disc as a copy in a secure place, which would be wise for a keen collector. It is very desirable that the programme should allow machine searching under "Find" or similar for forgotten items, and "Sort" to allow the arrangement of items in the different columns in different heirarchies (orders) for different purposes- such as put in order of date, or alphabetically or even in increasing price. They can also be used to print out a card index if this is wanted.

Reflex Foto-Kino-Optik, Munich, Germany. This was a firm formed by an important amalgamation, probably of agents and dealers to form Beroflex (H. Mandermann) in 1969, and the lenses originated from Germany, (35mm) and the Far East (probably Japan). They were as follows: Reflexogon f3.5 28mm 6 glass Reflexogon f3.5 35mm 4 glass Reflexagar f5.6 300mm 3 glass Reflexagar f6.3 400mm 3 glass Reflexagar f8.0 500mm 3 glass Tele-Reflexagar f3.5 135mm 4 glass Tele-Reflexagar f2.8 135mm 4 glass Tele-Reflexagar f5.6 300mm 4 glass Tele-Reflexagar f5.6 400mm 4 glass Tele-Reflexagar f6.3 500mm 4 glass Auto-Tele-Reflexanar f3.5 200mm Auto iris. 6 glass

Reichert, Wien V111, Bennogasse, 24-26, Austria. They were an important camera lens maker earlier this century, but seem later to have concentrated more on microscopes from laboratory experience with hot- and cold-stage microscopes in the 1960's. They possibly stopped photographic lens production during WW1 and never restarted after it. Their lenses are scarce in the UK as a result.

Combinar This seems to be the main symmetrical anastigmat and was made in several types. A typical layout may be that in Rei 010 from a 1908 list. But some do also seem to be of Q9 type. The spelling can also be Kombinar or with a "C" as here. Neu Combinar f4.5 This is a portrait lens with a 3+3 symmetrical layout. Neu Combinar f6.8 This seems to have a 4+4 layout. Neu Combinar Wide Angle f6.8 This was made in 6.0-30cm.This wide version was noted in 180mm for 100° and was of Q9 type. Thus there do seem to be two types here, and this was the only wide angle listed in 1908. It may be complicated by the ending of Patent cover on the Q9 at about this time. Combinar f6.3 This was a 4+4 symmetrical anastigmat, and sold as a lens for general use. It was made in 9-24cm. It was this that Frerk mainly featured in 1926, and the other versions may have been closed off by then. The f6.3 was covered under D.R.P. 153,525 and Oest. P. 14,154. The 4+4 design was fully separable, the cells working at f12, so they seem to both be the same focus. Combinar Series 11 f12.5 There is no information here- it may be a single cell of the f6.3 pair or a wide angle lens. Combinar Casket set f6.3 This was sold for 9x12, also f6.8, for 13x18, 18x24cm sizes. One list in 1908 gives these caskets as all having 3 cells, as Alpha, for 9x12; Beta for 13x18, Gamma, for 13x18, Delta for 18x24cm. Polar f4.0 This was made in 3.0-10cm in a pre-1908 list, but there may also be another version as it has been shown as an air-spaced Q9 type layout. The example seen at No249x was a 50mm f4.0 in brass, and it was probably a low power microscope lens. Frerk seems to say a 6glass Gauss design here. Fig 031 032 C.Reichert, Wien Polar f4.0 as 50mm and 75mm lenses.

Solar f6.8 This was a 4-glass air-spaced design, and a lens for general use. It was made in 12-21cm. Frerk comments on the similarity to the Goerz Syntor, which might just suggest a licence arrangment between the firms. Apo-Solar (No details) Some WW2 items were apparently coded: pvf.

Reid and Sigrist. The Reid camera was made by Reid, who at the B.I.Fair May 1947 showed a prototype Leica 111b copy, later sold as the Reid with a TTH f2 Reid lens- see TTH. There were some delays before production began, and this lowered the overall sales potential.

F.S.Reitlinger, Paris. This name was noted on a brass daguerrotype period lens with a brass pivoting cover and no provision for stops. (NB It just might be a later projector lens.....but these can be hard to date.)

Repromaster c/o Agfa Kamerawerk, Tegernseer Landstr. 161; 81,539 Munchen, Germany. Lenses engraved with this name have come on the used lens market with the increased use of scanning techniques, and seem to be from Agfa Repromaster copying units. They are said to be very high quality process lenses, but the glasses are set in a barrel mount and are not transferable to shutters. The design seems to be air-spaced type Q20 and the iris scales may be missing or incomplete, but there is a click-in setting and the rear flange sizes seem to be Compur sizes. They seems to have been mounted on a rotating plate to carry 2 lenses. Repromaster f9.0 150, 210mm. also in USA at least f9.5, 240mm. Repromaster f4.5 80mm Tentatively, this seems to be a 6g/4c gauss design.

Research and Development Ltd. Zoomar A for 17-53mm or 35-106mm This was a cine lens Zoomar B for 17-53mm This was a cine lens. These seem to be notable early zooms from the pre-1950 period. See also sections on Kilfitt and Voigtlaender.

Revere, USA Cine camera maker, using Revar f2.8/12.7mm lenses about 1951.

Rex, France. This maker of 6x9cm folders, used a Rex-Luxia lens, probably about f8/100mm, on a 6x9cm Rex folder in 1930.

Richmond Lens brand carried by Talbot & Eamer of Blackburn in a 1901 advert. but without further details. Richmond RR lens for 1/4 plate Miral box camera.

Richter Cine Equipment, Essex, New York, USA. They are makers of 'Reflex Auto Collimator' units to check the focus of lenses in situ on cameras, especially movie and cine cameras, where the focus can be checked while film is running. The unit projects the image of a test pattern (illuminated with a 110V or 220V light) with a collimator lens set to form an image at infinity: when this passes through the camera lens, it is focused on the film if it is correctly set for infinity. The image on the film is now viewed through the collimator lens using a part silvered mirror and eyepiece. It was also used for still cameras such as Leica, Exacta etc. But a major feature was that field sets were sold for cameras such as Mitchell, Eymo, Arriflex, C-mount and D-mount so that photographers could check all was well in the field. Price was some $500 in 01/1976.

A. Hch. Rietzschel Gmbh., Aberlestrasse 18, Munich, Germany. This was an old firm, dating from 1896, and making or supplying cameras as well as lenses. It seems to have traded steadily until in the 1920's it was absorbed into the Agfa company who initially sold their products as 'Rietzschel' (B.J.A. 1926, p349) with Rietzschel f6.8 and f7.5 lenses. It is thought that the trade names were valued and kept in use, and were slowly transferred to updated products, but continued for many years, and that the large format lenses were sold on the continent of Europe while Agfa concentrated on developing new markets outside it. Rietzschel do not seem to have themselves sold in the UK as the lenses are scarce here and little known.

Older Type Designs Periscop ] Rapid Aplanat ] These were options on the 'Tip' rollfilm in 1903. Extra Rapid Aplanat f8.0 ] Rietzschel Anastigmat f8/14cm, or f9.0/21cm This was the low price option in 1903, the 14cm covering 5x4 and the 21cm 13x18cm. Rektilinear This seems to be an early product but no details are available. Rapid Aplanat f8.0 This was made in 6.0-12in. 3-glass. This layout, Rie002, is unusual as it uses only 3 glasses, for a 'simplified RR'. It may be the same as the lens above on the Tip. Rectigraphique f8.0 This may merely be the French trade name for the above. Extra Rapid Aplanat f7.7 6-24in This was designed to cover 70°, this was a rather normal RR (Rie001). It may be the same as on the Tip above.

Portrait Lenses Portrait f3.8 4.75-16.5in Triplet type (Layout Rie009) Portrait f3.2 6.0-16.5in Petzval type portrait lens. Linear Linear This was the first Rietzschel symmetrical anastigmat, with an expensive 4+4 design, and later the 3+3 Apotar was added, possibly as patents became available. Apotar may have been noted as an f6.3/90mm lens at No91,11x in a dialset Compur on a 9x12cm camera, ie a moderate wide angle lens. The units of 4 glasses seem to be made up of pairs with a flat interface which may have helped the production. Many of the names have the LINEAR letter group in them, not just this particular group. Linear Type A f4.5 or f4.8 1.675-16.5inThis was a 4+4 symmetrical anastigmat shown in Layout 006 and was used on the Cosmo Clack Stereo in 1903 in 2x65mm. This also was used in 12cm on the Clack 1 in 1905, and 12cm was suggested for 5x4in and was suggested to use 10.75in for 10x8. It was the most expensive version, and performs well today over moderate angles at f4.8 and the good image then spreads out as it is stopped down till it has really good cover at small apertures. (Rie006)

Fig 007 018 Rietzschel Linear Series A f4.8/135mm No118,406.

In use, an f4.5/9cm example No 117,38x in a dialset Compur (of about 1924-5) illuminated 5x4 and the 6x9 area was well resolved, the sharp area spreading out on closing down and at f16 it was a very decent semi- wide angle lens as a 9cm covers 5x4in with movements, with really good contrast and sharpness, which makes the design worthwhile as it does have that touch of speed in the centre. It does not show a "Type" code on it. The layout (Rie006) can be regarded as a Q11 with one glass split to allow more correction, but it is unwise to carry the analogy too far. It was covered by D.R.P. 118,466. No1a is a 135mm lens. Stops were f4.8, f6.3, f7.7, f11, f15.5, f22, f31. This one was in S.I.M. probably for a big S.L.R.One use was portraiture. The balsam in the Series 1a was badly damaged at G2/G3 in both cells and it was noted that the glasses were mounted with a metal jacket (alloy) round the full depth of the glass and this was spun over at the back to retain the glass- and also in the middle to form a sort of waist- this waist may have been unwise as it seems to have tended to force the glasses apart long term leading to balsam failure and was/is very hard to rectify! The glasses at this point do seem to be truly flat surfaces as in Rie006. One point that Frerk makes is that it can be regarded as two cemented doublets with a common flat surface, which helped alignment when the lens was asembled. [This is worth noting as 4+4 lenses are often said to suffer poor centration, and in fact the makers often had a trick to help minimize the problem.] Linear Type B f5.5 or f6.0 1.625-24in. Layout as the f4.5. This was a general purpose lens. It was fitted as an f5.8 on the Clack 1 in 1903, where 12cm covered 5x4in. Linear Type C f6.3 or f7.0 1.625-35.5in Layout as the f4.5. (App048 is a Series C) With Type B or C use 9.5in or longer for 10x8. Linear ?Type C f6.8 1.625-8.25in-32in.(D.R.Pat 118466/1898) One list gives it as f6.8 in 60-240mm, then f7.0, 270-900mm. It was made for 60, 90, 120, 150, 180, 210, 240, 270, 300, 360, 480, 600, 750, 900mm. A 120mm lens covered 9x12 at f7.0, 12x15cm at f16, and 13x18cm at f42. This was used on the Clack 1 for up to 5x4in in 1903. It may be the first version, later made in faster types? For 5x4in use 5.25in, for 10x8in use 10.5in or longer. Linear was also sold as casket sets. These had 4 cells each and were for 9x12, 13x18 in each size, the apertures being as the prime lenses. In 1903, the lenses were typically Rietzschel Anastigmat f8 or f9, then Baryt f7.5, then Linear C, B, and A in increasing speed and price, with no lenses bought-in from other makers. These covered quite good angles, as 12cm was used for 5x4, 18cm for 13x18cm, etc. Linear Type D f6.8 This was noted 1910 and by then the Type C was f6.3, so the D may be the one queried above. Here use 135mm for 5x4in, as with all Linears. Doppel Anastigmat f6.8, f6.3 This was listed but is probably another description of the above. ReproLinear Process Lens f11 This was an early type of Process anastigmat. Made in 30-120cm. Apolinear This seems to be the apo version of the last.(Rie007).

Apotar This was a later T.N. than Linear, being noted in 1910 adverts. It was to be a long lived trade name but it was used for lenses of different designs. Apotar f6.3 2.375-8.25in This version was a symmetrical anastigmat of 3+3 type, (Rie005) Q11, and roughly the same was made as the next item. Be carefull in purchase if you seek a symmetrical anastigmat, as the Trade Name was later reused for a Q15 type, and that is different though also good! Apotar f6.8 9.5-24in This was a 6-glass symmetrical anastigmat, roughly Q11 type. It gives some 70-80° coverage. It seems not to be far from the above type, and from the next. It was used in 1910 on the Marine-Clack. Doppel Apotar f6.3 120mm for stereo.

Baryt Anastigmat f7.5 and f7.7 for 9x12 and 13x18cm.This was listed in 1908 as with 4 cells in 9x12 and 13x18cm. A 12cm f7.5 in Unicum shutter was used on the Clack 1 for 9x12 and 5x4in about 1903. Baryt Anastigmat f6.8 This was a general purpose lens. Baryt must reflect the use of barium loaded glass, and this seems to be an early item. Clack Anastigmat as sets in shutter, a Landscape double anastigmat. It was listed also as a casket with 4 cells plus shutter in f8.0 for 13x18cm. The prime lens was made in 2 versions: f8.0 and f11 8.5-12in. Dialyt f4.5 3.5-16.5in (Layout Rie008) This is a 4-glass Gauss type, the 'dialyt' referring to the airspaced design. Dialyt f6.8 3.5-16.5in Again 4 separate glasses, covers 70-80°. Sextar f6.8 135mm etc.This was noted on a Linhof stereo (Layout Rie004) and fitted to a Heli-Clack plate camera in 1920- so it may be a later design. Tele Objective -1.3 to -3.5in focus, a 2-glass type. Telinear An adjustable tele rather like the Adon but with a more restricted range of foci, and a much better item from the collectors viewpoint. At least 2 sizes were made, for 45-108cm in the longer case. Kerkmann shows one on a Kosmo Clack Stereo 45x107mm from 1918. Here the Tele is fitted to one shutter only for display? Fig 007 013 Rietzschel (l) Telinear lens with Prolinear f1.9/135mm and (r) Trilinear lenses. Apostigmat Wide Angle f15 100-110° Layout Rie003, this was roughly an anastigmat type. Trilinear f6.3, f4.5 This was seen as a 105mm f6.3 triplet in a dialset Compur shutter at No167,83x. It seems these were the product supplied for folders. Trilinear f7.5 Noted in 75mm at No159,61x on a small Clack ?6x9cm? Fig 007 013 Rietzschel (r) Trilinear (m) Prolinear f1.9/135mm and (l) Telinear lenses. (above)

Prolinear f1.9 135mm for Mentor 6x9 reflexes. This has been seen at No165,15x, and this Mentor No44,37x carries the lens protruding as in the advert. in B.J.A. 1927, p615, while a well known ilustration shows one in sunk housing- so there was a detailed redesign of the Mentor reflex. The illustration in Frerk's book suggests this is really a box to surround the lens to protect it. In 1927, Prolinear was credited to Rietzschel rather than Agfa. Other examples were No170,15x on Mentor No44,76x and 162,59x on Mentor 44,38x. The Prolinear seen has 4 separate glasses, with the iris in the middle and is very compact from back to front. It is really nearest the Speedic type of layout (App049) with the rear glass of a triplet divided and replaced by two positives. The iris is between glasses 2 and 3. This raises the interesting idea that this and the Astro lenses could have been licensed from different patent holders, though it is not known if TTH were involved. It seems to be a reasonably contrasty and sharp lens, at least suitable for news work in bad weather at full aperture but not suitable for extreme enlargement- perhaps rather in the same class as the Kino-Plasmat. It must be a really scarce lens. [When a 135mm lens was focussed at f22, and opened up, the image remained compact in the centre up to about f2.8, and then formed a halo of up to 3mm dia. from the outermost zone: when this was isolated using a centre spot to remove light of f2.5 or less, the best focus was some 1.9mm nearer the lens, pointing to some 1.5% under correction of spherical aberrations in this area. Away from the centre, there seemed to be appreciable astigmatism, and it seems impressive how well it performs in the light of this.] Fig 007 013 Rietzschel Prolinear f1.9/ with (r) Trilinear and (l) Telinear lenses. (above)

Solinar f4.5 105, 120mm The 120mm was noted on Clack Luxus, in 1910. This was another long lived trade name. Another was noted as an f4.5/105mm No170,23x in a dialset Compur on a Luxus Clack 6x9cm Obviously Rietzschel is not well known in the UK but the serial number of the f4.5 above at No117,38x (1924?) seems likely to be a 'late' one. Equally note the early 1920's Agfa Solinear f4.5/135mm above at No404,719. This may suggest a new start at 400,000 or some such about 1926-7 as the companies joined together. Fig 30 Rietzschel Lenses. Back Left Rietzschel Prolinear f1.9/135mm on Mentor Sport. Front Rietzschel Linear f4.5/90mm. Right Rietzschel TriLinear f6.3/105mm. Back Right Rietzschel Telinear No0 for 30-60cm.

Riken Optical Co Ltd, Tokyo, Japan. Hasbroeck illustrates a Steky IIIB with a f3.5/25mm Stekinar and f5.6/40mm Stecky-Tele as one of the earliest Japanese sub-miniature cameras (c.1948, c.1950): the lenses do not seem to have serial numbers.

Ricoh f3.5 80mm Riken f3.5 6cm or ?8cm on a Ricoh Super 44, or Ricohmatic 44 for 127 film respectively. This may be the same as the above, but the dealer noted the maker rather than the T.N. Ricomat f3.5 45mm Rikenon f2.8 45mm Rikenon f3.5 80mm Rikenon f1.9 45mm Rikinon f1.4 55mm This was made for the Singlex SLR with Nikon type bayonet. (see Modern Photo. 07/1964) Ricoh preset lenses to match. Kominar f2.8 4cm This was listed on a Ricoh Auto 35V.

XR Ricoh Lenses for Ricoh SLR K-10 Feb. 1981 list. Rikenon f2.8 28mm Rikenon f2.8 35mm Rikenon f1.4 50mm Rikenon f1.7 50mm Rikenon f2.0 50mm 6g/5c type. Rikenon f2.8 135mm Rikenon f4.0 200mm Rikenon Zoom f3.5 70-150mm It is likely they make or made lenses for photocopiers, as a cell marked 240mm Ricoh has been seen. It was probably of Plasmat type, and used with a mirror behind it to produce a complete doublet in practice. Ricoh GR f2.8 28mm This was fitted to the GR1 camera, and also in M39 mount- it has a unique layout with concave entry face and a large rear convex surface. It gave D. Glenn very impressive results in Amateur Photo 05/02/2000 p21 on the compact Autofocus body. Camera c.£400 or £800 lens alone for M39.

Riley Bros, Bradford, UK. Channing and Dunn mention Riley Bros as a source of cameras but apparently as fairly minor camera makers. Hasbroeck lists a Hare camera about 1890 with a "Riley Bros" lens- but they may have been dealers in cameras, possibly as well as makers, but may have engraved bought-in lenses with their name. None has actually been seen.

Rittreck, see Optika, also Norita, Warner. It seems that all these came from Musashino Koki Co Ltd, 472 Shinjo Kawasaki City, Kanegawa Ken, Japan. Now known as Wista and a maker of large format cameras and rollfilm backs. Rittron f2.0 80mm for 6x6 Norita, etc. Noted at No680,46x. for Rittreck Reflex: Wide Angle Luminon f3.5 90mm Wide Angle Luminant f4.5 92mm (57° on 6x9cm) There is possibly also a 95mm also and the 92 may well be a misprint but is in the makers catalogue as this. Note that on a reflex, the widest fitted may depend on the sweep of the mirror and therefore be an unusual focus. Luminon f3.5 105mm (50° on 6x9cm) This was noted at No64,177. Luminant Long Focus f4.5 180mm (31° on 6x9cm) Luminant Tele f5.6 200mm Luminant Long Focus f4.5 210mm (27° on 6x9cm) An example was noted at No21,02x. Luminant Tele f5.6 300mm (19° on 6x9cm) Luminant Tele f5.6 400mm (14° on 6x9cm) The mounts were described as 'screw-in type on a lens board.'

Robinson and Sons. This was noted on unnamed 1/2plate cameras- it may well be an RR bought in by a shop and engraved before resale. They are well described in Channing & Dunn's book as a shop at 172, Regent St London from about 1871- 1899. They will have bought in lenses and engraved them with their name.

Rochester Optical Co, 39-49, South St., Rochester, New York, USA. The company was formed from W. H. Walker (1883), and F.M.Cossitt and W.F.Carlton, and continued by Carlton. It merged with Rochester Camera of Poco series fame, and with Monroe Camera and Ray camera to form Western camera, and with E. and H.T.Anthony to form the Rochester Optical and Camera Co. and this was amalgamated into Kodak in 1903. The following will be only a fraction of their products, which are uncommon in the UK. They were agents for lenses by Bausch and Lomb, Voigtlaender, Beck, Suter, Ross and Darlot. 1899 Single Achromat 6-13in Achromatic doublet. Symmetrical= Excelsior 6.5-20in RR (Q5) Rapid Rectilinear on Premo c. 1894. Excelsior Wide Angle =Wide Angle Symmetrical 3.5-8in WAR. (Q6) 1890 Single View Lens 6.0-13in] These items noted as agented by Excelsior RR 7.0-13in] Starkweather and Williams, Providence, RI. 1898 in Premo catalogue. Rochester Anastigmat f7.5 6.0-16.25in A separable symmetrical anastigmat. Zeiss Series V f18 also lenses by Bausch and Lomb (Plastigmat, etc) and Goerz (Series 111) Royal Anastigmat: a symmetrical anastigmat of 4+4 glasses, air spaced. 1901 Telephoto or possibly a 3-focus anastigmat lens noted on a Premo, 1901-1904 period. Source: Catalogues for 1895, 1898 (2),1901.

G. Rodenstock, P.O. Box 140440, W-8000, Munich 5, Germany. UK Agent 1925: Mr F.G. Phillips, 12, Charterhouse St, Holborn Circus, London EC1. UK agent postwar: Photo-Science, 168, Wandsworth Bridge Rd, Fulham, London, SW6. De Vere Ltd, Thayers Farm Rd, Beckenham, Kent. (noted 2/1968) Odessey Sales, Kent. (Current) We thank Mr. K.Huhle of Rodenstock for additional information here. Rodenstock are mentioned in P. Marsh Financial Times 15/04/2000 as a fine example of the German Mittelstand- family firms with real independance and a down to earth approach. Rodenstock are a major German maker of lenses, especially opthalmic ones with sales of DM1bn in 1999 and with a history going back to 1877 when they were founded by the ancestor of the present chairman, Herr Randolf Rodenstock. In the article, he is quoted as saying the firm changes top management roughly every 30 years, as an example of consistency despite the external changes that surround them, such as 2 world wars, inflations and now the internet. One point is that camera lenses seem to be just one aspect of the work which will aid stability. Much of the business is in spectacles, frames, opera glasses and opthalmalogical instruments. In 1968, there were 3 factories with a workforce of 4,000 people. They also supplied cameras, though it is not certain if they made or dealt in them. In the UK their lenses have been rather overlooked for many years, which makes historic items such as Imagonal, Pantogonal or Heligonal rather hard to find. Currently the position is different with Rodenstock playing a major market role and also active in ophthalmic products. But there has been no real history of the firm noted. Initially there was no data on how the serial numbers have run as a basis for this section. A legendary figure in the UK was Mr Len (Carl) Sutton (1922-1996) who was for many years the Rodenstock Dept. at De Vere and then with J. Boyce at Odessey Sales. He initially trained with Carl Zeiss, and this was the source of his nickname. (B.J.P. 08/01/1996) Chronology Subsequently, M. P-H Pont in "Chiffres Clef" has suggested a list of serial numbers and dates, but indicates that this is approximate. The following is a slightly shortened version and the reader is referred to his book for the whole. 1910 50,000 1920 200,000 1930 400,000 1935 700,000 1940 950,000 1945 2,000,000 1952 2,500,000 1957 4,000,000 1961 5,000,000 1966 6,000,000 1971 7,000,000 1974 9,000,000 The series reaches about 11.2million in 1993. Experience can add two lenses: a Trinar at No737,51x in a Compur 3.3million at about 1935, and a Perigon No 2,369,41x in a Compur No7,833,90x of about 1951, in confirmation. One point is that sales in the UK must have fluctuated- there is no adverts in the 1914 BJA except from W.J.Lafbury, 305, N 5th St Ave, Chicago, USA and there may have only been intermittent UK sale. Lafbury in 1914 was only listing Eurynar in f6.8, f5.4, f4.5. After WW1, they returned by 1924 with Eurynar in 3 series as f6.8, f5.4, f4.5 and f3.8, Eikonar f5.4, f6.3 and wide angle Euikonar f12; Extra Rapid Portrait f3.5; Eustigmat, a universal anastigmat f7.5;Extra rapid aplanat f7.7; wide angle aplanat f12 and Apochromat Eikonar for process and 3-colour work.

Early Lenses Aplanoscop } Aplanar } These seem to be pre-1908 RR's. Rektiaplanat } Extra Rapid Aplanat f7.7 This was still on the Rollfilm and plate cameras in 1925.

Aplanats=RR's Writing in 1926, Frerk lists 4 types of Rodenstock aplanat as follows: (a) Extra Rapid Aplanatf7.7 This may be the same as the item above and the next item: Rapid Aplanat f7.7 (same) It seems to have been made for many years, probably after 1918 even, along with the next item. (b) Wide Angle Aplanat 111f12 (c) Rectiaplanat f8.0 It has been noted as a 32cm lens at No87,04x. Also 210mm and 480mm has also been seen in lists. It may be a 'new' glass RR to go with the Rapid above, but also one continued for a long time. Rapid Aplanoscop f7.5 ( see above!) This he mentions as the Aplanoscop Satz, ie set.

Portrait Lenses Portrait Moment Objective f3.5 Petzval Portrait Lens This was available in 1908, and was the Portrait suggestion, along with the Eurygonal and Heligonal.

Lumar This was an early Gauss type lens, made by 1908, Q16 type. Heligonal f5.2 This was an early use of the trade name on an anastigmat type lens, Layout Rod001. There is a risk of confusion here as the name was reused later for a symmetrical anastigmat. It was discontinued by 1926. The lens Frerk refers to was probably Rod 006, App058, a lens of type 2+4 design for 70-90°. Frerk liked it and notes that the rear cell can be used as a well corrected f12 on its own. It is also illustrated in Kerkmann, p229. Helogonal This is probably a misspelling of the above, as it seems to be a f5.2 of 2+4 glass layout, Rod006, and it may be partly a portrait lens but also for general use over 70-90°. Apoheligonal This was probably a process lens based on the same type of design. Pantogonal anastigmat f18, 80-750mm, or later 3.375, 5.0, 6.5in to cover 120-130°. This has a 1+2 layout as in Rod002. This seems to be the same simple design as the wide angle Pantogonal below in 1906. (This spelling is probably correct rather than Pantagonal.) The coverage was excellent at 10x8 with a 125mm lens but sharpness was said to be very limited ie. it was soft, in the example reported, but then it was an old lens and could be imperfect. The problem may be partly the use of film with a wider colour sensitivity than the lens was designed for. It was seen at Nr41,22x, on a brass finished 12.5cm lens, with stops f18 to f72. A unique feature is the graded green-yellow centre filter, "Enixantos" which now seems fairly pale, but for ordinary film may have been quite vicious in strength. It was used to even up the exposure, and was made from two cemented lenses of zero overall power but the positive is colored and acts as the graded element. (B.J.A. 1906-1907). It has been reported as being quite effective on a modern Angulon lens.

Fig 016 033 Rodenstock Pantogonal No2 c125mm No41,220 in brass with density gradient yellow filter.

Eurygonal f3.8 It was made in 1/4, 1/2, 1/1plate sizes and was an anastigmat with a layout rather like a Kollinear ( Layout Rod005, Rod007, Q11) but was unusually fast. The latter design seems to be partly uncemented. At least one of the early anastigmats was sold as a casket.

Caskets and Sets Eikonar Casket Set Symmetrical Anastigmats, 3+3 type 110-180mm. An early example reported in Sweden was a f5.4/24cm at Nr110,01x, in a mahogany tailboard camera. See below for an f6.8 series: there may be parallel production of two 3+3 symmetrical anastigmats at two apertures. Mollar f6.3, this seems to be a non-achromatic meniscus lens for portraits and an old product. Monokel Casket Set, eg Satz 11 in brass barrel with 10 simple lenses, to use one at a time. A Monokel objektive Satz II No500,68x was noted at auction. This may be an unusual serial number for this type of product. The serial number is on the barrel as the glasses are not mounted; and slip into the rear of the barrel when a retainer ring is removed rather as filters might except that a much longer thread is used. The glasses are numbered with a diamond from 25 to 70 and this may be the cm focus. The longest is thinner and may be a different type of glass. Since there is no color correction, this will be softish, and have a focus error from visual to photographic. It may be possible to combine 2 glasses but this was not tried. Fig 016 008 Rodenstock 'Monokel' casket set with barrel, casket and flange. Universal Lens Set. An American advert. carried a 30cm f6.8 Doppel Anastigmat but without more identification. A f5.4 Doppel Anastigmat has also been seen at auction at No900x on a 6x9cm Rodenstock reflex. Imagonal f6.0/f6.8 as 60-1500mm This has a 3-glass front cell and a single thick rear lens, the layout in Rod003. But note the discrepancy below. Imagonal was made in 3-sizes, for 1/4, 1/2, 1/1 plate use. Coverage was 60-80°. It was available as a casket in 1906 with 8 combinations plus filters, (Yellow, etc.). (Coblitz, German Patent, No177,266, 1908, 1904). Imagonal was also available as a package containing Imagonal+ Portrait lens+ 3 landscape lenses in a casket. This may explain some of the uncertainty about it. Thus Schmidt (1908) shows Imagonal as a single front lens and a triple rear, and Frerk describes this type,and shows the 'Satz: type 3' below as a distinct product."Here the single cells are not well corrected for separate use. The lens is not in fact up to the makers usual standard of correction". The casket was made in No 1 f6.8 for 13x18 and No2 f6.8 for 18x24cm. The Satz was covered under D.R.P. 231,074 and here there is a point as it seems to be triple front and single rear. Both had 5 cells and could give up to 8 foci. Thus there may be: (1) Satz Imagonal (2) Imagonal Type 2, also as a soft focus lens. This may be due to uncorrected spherical aberrations. (3) Imagonal Type 3. This probably rated as a 'Satz' and was seen at No5,53x and is different as it has a 3- or possibly 4-glass front and interchangable doublet rear glasses, the front not being normally useful alone. The four rear glasses give overall foci of about 127, 150, 180 and 270mm, with quite a wide angle of cover, but sharp only when well closed down. Fig 016 015 Rodenstock Imagonal casket set. It seems not be the same as the one in Kingslake's book, but nearer to the Heligonal he mentions. It may be that the rear exchange design was the early version, and that user pressure resulted in a redesign with the more convenient front change system. The diagram is for the latter type but the other seems to have the same layout reversed such as Schmidt describes. The designer was A. Neuman, and he adopted the Rudolph procedure of using anastigmatic flattening of a spherically corrected system.(B.J.A. 1906, p729). The front looks to be like part of a Q9 lens, and the excess aberrations left in are corrected by the rear. (Photo Korres. 11/1904, p503) (Layout Rod004). Thus this is an interesting item but one to get details of before purchase since there does seem to be some uncertainty present.

Portrait Moment lens f3.5 } These may in fact be the same lens but Portrait Moment is what Frerk also uses as a German description and may be the preferred. And see above. Studio Rapid f3.5 } They were made in 140-480mm.

Bistigmat This has been reported (eg at No25,25x for 13x18cm) on an Adler, Wien camera at auction,as a desirable item with a simple shutter and focus correction for taking. Thus it is probably not colour corrected and likely to be a Periscop type. It is said to be f13. Frerk says merely for box and magazine cameras- which would not suggest a very fancy item, but the early versions may be more select. Wide Angle Bistigmat C (no details) Hemi-Anastigmat f7.2 For up to 80° coverage, this is a 4-glass lens near Q5 in design (App057), ie posibly a well made RR. But Frerk says it has a non-achromatised rear pair, so it will be less corrected than an RR. See also Kerkmann p229. An example was noted at No3,30x on an Albini VP plate. A Rodenstock Hemi Anastigmat was noted as f7.5 No3236 onan Alba VP size camera. Aplastigmat This seems to be an early anastigmat. Triplexstigmat Again this seems to be an early type of anastigmat. Tele-Projection Lens f3.5 This was adjustable for 6.0-23in focus, noted 1906-7. Terogonal Anastigmat f6.8 (This may be a Q9 type). It seems to have been listed for many years into the interwar period.

Eurynar This was a major product, 50,000 being sold between 1909-1914. It was a replacement for the Imagonal, in f5.4 and f6.8 and usually 18cm was used for an 13x18cm plate. The product was revised for 1924, with new optics and mounting, and the next two may have started then. The structure in the 1925 B.J.A. is a dialyt, but the designs may have varied. There is no mention of their being convertible, but the Table lists f3.8, f4.0 and f4.5 as if they were one set of Series IV lenses which differed only in aperture. There was no f3.5 in 1925. (o) f3.5, 75-150mm (App055) (a)Series IV in f3.8, f4.0, f4.5, Normally in 50-300mm. (Layout App054, pp055). These were made in 1925 in 2.5-10cm as f3.8 and the shorter were for cine and movie, but the 10cm was for 3.275x3.125in. (B.J.A. 1925, 344, 360, 744advert, ) The next group were f4.0 in 12cm for 2.75x3.5in, and 13.5cm for 3.25x4.25in, (Layout App054, App055). Finally the longer lenses were as f4.5. These were 15cm for 3.5x4.5in, 16.5 for 6x4in, 18cm for 6.5x4.75in, 21cm for 7x5in, 24cm for 8.5x6.5in, 30cm for 9x7in, 36cm for 9x7in, 42cm for 10x8in, 48cm for 12x10in and 60cm for 15x12in. Note that App055 was drawn to cover both the f3.5 and f4.5 versions. It has also been seen as a 360mm lens in brass at No100,12x. These can be quite big lenses as with the 36cm f4.5, but are still relatively quite light in weight. The iris is after G2, and a more normal f4.5/135mm at No283,54x was on a Tropical 9x12cm plate. Fig 016 020 Rodenstock Eurynar f4.5/36cm No100,128. The f4.5 was fitted to the Rodenstock Astra in 4.25x3.25in in B.J.A. 1925, p344. (b) f5.4, there is no data. Kerkmann shows an advert. for the f6.5, f4.5 and f3.5 illustrated with a dialyt and all are listed as separable, the front cell giving 1.75, 1.95 and 1.75x increase in focus, and the f6.5 is strictly symmetrical, but the others have shorter focus rear cells (1.57x, 1.6x. respectively). (b'2) f6.0 This was noted as a 21cm on a W.Chelius formerly Wunsche, camera at auction and may be a slowed up version of the 21cm. (c)f6.5, 105-480mm This aperture was fitted to the Rodenstock Rio rollfilm camera in B.J.A. 1925, p344. (d) f6.8. Examples noted have been 240mm, and 475mm for 14x17in. It was a Doppel Anastigmat in 1918 when fitted to the Enolde plate from Korelle. Thus this is was made in 5 speeds and these variations may partly be due to the focal lengths (B.J.A. 1911, p1260). They seem often to be 3-glass type Q16, but this seems to be a case where two or three layouts may have been used under the same trade name. Thus a Gauss (Rod009) may have been used for a wider angle version and a dialyt (Rod008) sold for narrower angle lenses. It has been noted as an f6.8 180mm lens. It was continued into the interwar years as Series 1, f6.8 (Gauss); Series 111, f5.4; Series 1V, f4.5, and f3.8. The f4.5 was said to cover 55° and have a dialyt layout. In use it was nice, especially if closed down a little. It was made as 180, 210, 240, 300mm. (Series 11 is not known here.) ApoProcess Eurynar A slower version for process work. Some rather later notes of these are: Eurygon f4.5 300, 360, 420mm This was a plastic graduation portrait lens, using a triplet design. H&D gives 210-600mm, and confirms it is a triplet. Frerk confirms it is a triplet, and mentions small sizes for movie and macro work, possibly the f3.5 version, and large ones for general use. Coverage increases from 48° to 60° or to 70° as it is stopped down. It is suggested to use 21cm for 13x18cm. Eurynar f3.5+f4.5 It was made in 180, 210, 240, 300mm to cover 55° but perhaps not all in both apertures. It was a dialyt, and the separate components were usable for 2x and 1.6x focal length. There was also a f3.8 in the B.J.A. 1939 p534 advert, probably an f3.5 with aperture limited by the shutter size.

(Eurymar This spelling occurs several times- it may not just be a misprint. It has been noted as a f4.5/135mm No293,58x). Eurygon f4.5 21-60cm, This was a Triplet for 48-60° coverage depending on aperture. (App059)

After WW1, the list in B.J.A. 1924, p743 was: Eurynar Series 1, f6.8; Series III f5.4; Series IV f3.8 and f4.5; Eikonar Series II, f5.4; Series III f6.3, Series IV f12 Wide Angle. Extra Rapid Portrait f3.5 Universal Anastigmat Eustigmat f7.5 Extra Rapid Aplanat f7.7 Wide Angle Aplanat f12 Apochomatic Eikonar for process and 3 colour work.

Later Lenses. Trinar This seems to be a later type of lens drawn as Rod012 and a typical triplet. It was noted on cameras from the interwar years and was made in: f6.8 This was the only version in Frerk's 1926 book. He describes it as a good low priced triplet and one which came in shutters. It was normally sold with a camera. f5.8/f6.3 This was made as 75-300mm. f4.9 100mm version on Cito Klapp (1930) (Rod012) f4.5, f3.9, f3.8 These versions are noted on Clarovid, and Welta Trio, The f3.9/105mm was No666,68x. It was also available as 50-300mm. f3.5 This was noted as an 75mm on a Beier Precisa, typically mid 1930's. The serial number was Nr 737,51x in rimset Compur 3,3 million c.1935. (obscured number)

Fig 016 018 Rodenstock Trinar f3.5/75mm in Compur shutter on Beier Praecisa. f3.8 This was noted in 1939 advert below. f3.9 This was noted in B.J.A. 1936, p294 on a Clarovid II 6x9cm rollfilm, it will probably be an f4.5, aperture limited. f2.9 and f3.9 These were noted on the Citonette (1933) and were made as 50-105mm. The f2.9 was also on the Ysette for 16 on '20 film in 1939 (B.J.A. p275, 534 advert.) with an f4.5 as a slower option. Trinar was a major item on Rodenstock's own line in cameras, in f4.5 and f3.9, on Clarovid in 1938; as f4.5 and f2.9 on Ysella for 4x6.5cm in 1931and Ysette for 6x6 in 1938; and on Citonette, Gero and Rofina. But these do not seem common in the UK, and here the Trinar is not too well known. Normally the next version up was an Ysar in f4.5 and f3.9 but many did not offer this.

Ronar: This was to be a famous trade name but the first use may be in the 1920's. It is possible that it was then used on lenses of several types rather as Heligonal was. Imagon f5.8 This was made as 170-480mm (B.J.A. 1938, p261) where all might be had in barrel or in shutters. The range of foci available has varied over the years. It is a softish portrait lens, with control of softness by the iris and by the use of 'tea-strainer' diaphragms to admit varying amounts of light from the outer zones of the lens to add more softness in a very controlled fashion as they can be closed off selectively. Older examples carry the name of Mr Heinrich Kuhn-Birgit as initiator, but the lens was said to be designed by Dr Staeble the 'head of our photodesign' team in 1931. This suggests that the former was a photographer who decided the type of softness he required aesthetically but this is a guess. The lens was to become a very long lived product, being still in production today and is the softfocus lens usually regarded as that by which others are judged. By the 1930's the focal lengths were 200, 250, 300, 360mm. A modern layout is shown in Rod010 with the 'tea strainer' on the left. The shortest example noted was a 120mm listed in 1938 for a Beierflex camera. There was a special 'Imagon' camera for 9x12cm with focal plane shutter in 1930, shown with tea strainer filter. So it may be older, and available from 1928 or so. This camera looks rather like a Linhof Square Back Technika camera, which developed a bendy back in the Model II, and also a focal plane shutter in another one. [This type of camera also seems to occur as the Silar from Meyer and the Soho Precision camera- but never with the bendy back!] Rodenstock only listed it with the Imagon, as a special camera. It was suggested to choose 6x9cm, 170mm Imagon; 9x12cm, 20cm Imagon; 10x15cm, 25cm Imagon; and 15x18cm, 35cm Imagon. These are a fast, long lens and are usually in Compound 3 shutters, so that dating by the shutter number seems harder, but a lens Nr5,255,57x of about 1962-3 was in shutter No807,129. The smaller sizes are less known but an f4.5/120mm No3,137,66x has been noted in an article on Exaktas. Fig 017 001 Rodenstock Imagon f(H)5.8/250mm No5,255,578 with iris units and hood. This is a modern coated lens.

In modern times, the short foci might have sold on 6x6cm cameras but were not available though a 200mm Imagon was mounted by Piccadilly Photo Centre eg Hasselblad where a Copal 3 shutter was used. (B.J.P. 13/03/1981, p281). The price was £221.60 in plain iris mount for SLRs with focal plane shutters; and £389.10 in Copal 3, and there was additionally an adaptor charge of £134 +£39 to join the lens to the camera.

Perigon f12 90-750mm This seems to be a 2+2 "anastigmat" type for up 90° to 110°. It was seen as a postwar f12/90mm lens at Nr 2,369,41x, coated 'A' in a Compur Rapid shutter. The reflexions from the cemented surfaces seem very pale, as if the R.I. differences were small. (App056). It was used on 6x9cm and gave excellent results stopped down a bit. It would still be a useful lens.

028 Rodenstock Perigon f12/90mm No2,369,419 in Compur Rapid.

Periscop f11 This was on the Fibituro (1934). It will probably be a low price lens.

Ysar This was a long running Q15 type lens of high quality. Prewar it was fitted to the more costly models where the Trinar was the simpler version. But like the Trinar it is not too common in the UK. The choice is well illustrated in B.J.A. 1938, p671 where the Clarovid II, Citiklapp and Ysette all are offered with either and the Ysar is about £1.5-2.5 more expensive or say 12%. Ysar f3.5 50-105mm f3.9 This was listed in B.J.A. 1939, p534 but the camera was not stated. f4.5 50-480mm (Rod011) This may well be initially a 1920's product, and became an important one. Robra Anastigmat f3.5 75mm This was on a Robra camera for 3x4cm (1934). Zeconar f4.5 70mm for 4x6cm BAFO camera. f2.9 50mm on Balda, but the maker was not indicated. (1930's).

Eikonar Lenses. There seem to have been a group of products here at different apertures and possibly with different designs. The trade name seems to have been allowed to lapse, possibly in the early 1930's, as they were not noticed in the adverts, even though some of the products may have been continued under new names, possibly in modified forms. Eikonar Series 11 f5.4 This was listed in 1925. Eikonar Series 111 f6.3 This was listed in 1925. An f6.8 Eikonar was sold as a set for 2 or 3 foci, with accessories, possibly filters. H&D gives 11-18cm as the range of foci. It seems to be new in 1913-1914, and offered in f6.3 up to 37cm and then f6.8 to 51cm and then f7.5 to 60cm. Frerk suggest 18cm for a 13x18cm plate, or 12cm at f9 for 10x15cm. Single cells are used at f12.5. It covers 70-90°, the latter stopped down. Eikonar f4.5 for 60-80° These were discontinued by 1926. (The f4.5 may be the Series 1 missing from the list.) f5.4 for 70-90° same. Eikonar Series 1V f12 90-200mm This seems to be a symmetrical anastigmat 3 + 3 glass probably of Q11 (Kollinear) type from the reflexions. It is a real wide angle, the 15cm illuminating 10x8in and covering 1/1plate sharply and probably 10x8in if it is stopped down. (This was confirmed by a professional user who had applied the lens on 10x8in and spoke well of the results.) It was seen as an f12.5/15cm lens at No148,66x made perhaps about 1914 as it uses old stop markings from f12.5 to f50. Here the mount is heavy and really impressively solid- but finished in very dull matt and gloss black. This Eikonar may have been a predecessor of the Perigon, but of different design. Frerk notes that Rodenstock lenses were good value as the price was not too high and the quality really good and this seems an excellent example. It was listed in B.J.A. 1925, p744.

Fig 016 022 Rodenstock Eikonar wide angle f12/15cm No148,665. Eikonar Apo Process f9.0-f11 240-900mm This was a process lens to cover 52°.

Extra Rapid Portrait This will be the old f3.5 Petzval lens still in use many years later. Eustigmat f7.5 A universal anastigmat. The example seen was actually an f7.2.10.5cm in a tiny black mount with no stops, uncoated at Nr163,30x and probably in the region of 1930, but the original use is unclear. It seems to be a 4g/4c dialyt, roughly Q26.The product was on sale in 1925 and 1926, as the budget lens (above the Aplanat f7.7) on rollfilm and plate cameras such as the 'Astra'. The more expensive options were Eurynars in various apertures. Fig 016 022 Rodenstock Eustigmat f7.2/10.5cm (no iris fitted here.) and Eikonar wide angle f12/15cm No148,665.(above) "Photolet" this French camera used a f8/31mm Rodenstock lens in 1935.

Projection Lenses. see also TeleProjection lens above. Motar Petzval type. Kinemar Petzval type. Splendon Petzval type.

WW2: Production seems to have been coded: eso.

The plant was visited just after the war by the B.I.O.S. team, to meet Herr Mayenrieder. At this time, it was supplying Zeiss Ikon and Kodak owing to lens shortages, due to the Russian occupation of Jena and Schneider being in the French zone. The plant was on half time due to power shortages, but was described as good but quite normal. Production included rangefinders for Super Ikontas. It seemed a less well equipped and older plant than others at the time.

Post 1945 Production. Most postwar items are hard coated, and this is shown by an 'A' filled with red paint. On the amateur market the major product was probably the Heligon Gauss type, sold for many applications, and the centre piece of their range on the Retina cameras. But there was always a large format programme listed, though the magazines tended to give it less space. It probably included some older items such as the next seems to be. Perigon f12 This was made in 90, 110, 130mm for large format. This covered 85-95°, and was sold coated at least to 1955. It was roughly anastigmat type Q7 and it was suggested to use 90mm for 9x12cm. A nice coated example was seen at No2,369,41x in a Compur shutter. Heligaron TR f1.6 6.5mm for Niezoldi & Kramer, and Bauer, about 1960. Several occur in the Ariel list, so it was probably a major product in the late 1950's on Nizo projectors (or?cameras.) Heligaron f2.5 12.5mm This was for 8mm use.

Heligon This has always been a Gauss design, normally for fast lenses of about f2.0. Some versions noted have been as follows: Heligon f1.9 40mm 6g Gauss f1.9 50mm for SLR's 6g gauss. f2.0 50mm same The Heligon was the general name for postwar Gauss lenses and was probably updated and adjusted as needed for various uses. It was always a very highly respected type. An early Rodenstock f2/50mm for the Italian Perseo may be one of the earlier postwar uses in 1949/1950. A few Heligons were mounted for M39 also, and see the wide angle 35mm below. f2.0 22mm on Mec-16B subminiature. This was noted at No4,550,12x Heligon Wide Angle f2.8 35mm These are 6g/4c lenses in a coupled M39x26 mount. They were listed in 1955 and were seen at No2,459,63x as a very desirable compact item. Fig 012 009 Rodenstock Heligon f2.8/35mm No2,489,639 in M39. Heligon f2.8 90mm (or possibly 80mm?) for Linhof Technika 6x9. Heligon f3.2 90mm (or 80mm?) Heligon f2.8 80mm for Graphic 23 (1967) Here the 80mm focus seems definite. Heligon f2.8 95mm for Graphic XL (1967). These lenses were listed in 80 and 95mm in the 2/1968 list for 56x72mm and 65x90mm respectively in Compur 0 (for 80mm)and Compur 1 (for 95mm) shutters. These were 6g/4c Gauss design lenses. XR-Heligon f1.1 75mm This is an impressive lens, probably from a mass X-ray unit. It has some 12air-glass surfaces, and is very fast. But the back focus is very small, there is no iris, and no focus movement so it is hard to regard it as a use item. It was seen at No6,000,32x. (The design may not be related to the Gauss). Fig 016 023 Rodenstock XR-Heligon f1.1/75mm No6,000,322. XR-Heligon f1.5 100mm. This may be a slower version of the same, or a longer one for bigger formats, noted at Nr8,820,43x, and also has a short rear clearance at infinity. It was used on a Siemens Exporator 35 X-Ray unit ex Siemens Elema AB.

Heligon for Retina This was a series of lenses sold with interchangeable front elements for wide and long focus. It was sold in parallel to a set from J.Schneider but the sets are quite distinct, and are not inter- mixable. The Heligon set is said to be the scarcer as it was produced in smaller numbers and only issued in some countries, and this did not include USA. Finally there is only one prime lens, the f2.0 Heligon [while Schneider offered a slower f2.8 Xenon as an alternative to an f2]. The layouts are shown in Rod018, Rod019, Rod020, but are not to scale as the front lenses are relatively big and dwarf the front cell of the Heligon when it is removed. This was one basic problem for users and limited the progress of the system, and today a user needs to find the requisite caps and storage holders if the system is to be used safely. Heligon f2.0 50mm 6g/4c This was a Gauss standard lens. Rod018. One was noted at No3,995,80x. Wide Angle C f4.0 35mm Here only the front cell changes. Rod019 It was noted at No4,066,82x. Wide Angle C f5.6 35mm This was a slower and ?older version of the above. Long Heligon L f4.0 80mm Again here the front component only changes Rod020 It was noted at No4,471,34x.

Ysar A high quality Q15 type lens, made in many formats postwar. (Also it may be spelled as Isar?) Ysar f3.5 50mm (Rod011) or Q15. Ysar f4.5 75, 85, 105, 135, 150, 165, 180mm. In 1955, it was listed in up to 420mm, to cover 55°. It does not seem to be easy to find in the UK. Ysaron f4.5 This was a Q15 type enlarging lens, seen as a 210mm (no serial number on it!) and an 75mm in a Polaroid Prontor shutter at No5,669,12x. (App052) The f4.5/150mm with stops to f45 at £19.07 and the f4.5/75mm at £11.55 + 2.1 tax as well as a 50mm lens were noted in B.J.A. 1962, p484-40. Fig 016 025 Rodenstock Apographagon f11/240mm No10,519,645 and Ysaron f4.5/210mm (Nono).

Fig 016 031 Rodenstock Ysaron f4.5/75mm No5,669,120 in Prontor Polaroid shutter.

Trinar: a series of triplet type lenses. Trinar f2.9 50, 75mm (Layout Rod012) Trinar f3.5 45, 75, 105mm (same layout). See B.J.A. 1938 p290 for an example on a 6x9cm Citonette. There was also an f3.8 version on the Clarovid 6x9cm, probably due to the shutter limiting the aperture. (idem, p671) Trinar f4.5 75, 105mm (same layout). The f4.5 was used on the Citoklapp in 1938 (idem, p671). The Ysette used a choice of f4.5 or f3.5 Trinars in the same program. Trinar f5.6 45mm This was noted on a Bella 35 camera from Actina, 10, Dane St, London, noted in B.J.A. 1959, p213. Trinar f6.3 In all cases the use of a 75mm lens was suggested for 6x6cm, the coverage being 50-55°. It was listed about 1955. Trinarex Triplet listed in 1955. This just may be a 'new' glass version of the Trinar. Trinar Projection Lens f2.8-f3.6 50-100mm

Reomar f3.5 45mm for Kodak Retinette. This was a very successful camera from the 1950's, and was fitted with Reomars from both Rodenstock and Schneider, so the trade name may in fact be a Kodak one. The lenses had the same specification. However it is not known if they were optically identical. (Rod016). (There was also a f4.5, maker unknown.) Technicon f2.8 This is specifically mentioned as a Rodenstock lens in Pop Photo 11/1963 p163 for Linhof [along with f2.8 Planar and Xenotar lenses by Zeiss and Schneider.]

Sironar Sironar f5.6 In 2/1968, it was made in 100mm for 6.5x9cm; 135mm for 9x12cm; 150mm for 9x12cm or 5x4in(?); 180mm for 13x18cm; 210mm for 13x18cm and 240mm for 18x24cm and other sizes such as 300mm and 360mm were 'in preparation'. They cover 60° at f5.6 or 70° when slightly stopped down. The front cell can be used on its own as a slightly soft focus lens or somewhat stopped down as a sharp long focus of 3x the focus. This was normally made in large format foci, such as 150 and 210mm which are those usually seen. It was a standard large format lens for studio and architecture, and was made to an air-spaced Dagor design (roughly Q20) and is optically excellent. The front mount is or can be very large and impressive, the 150mm lens taking c.70mm external filters. The coating at No8,723,58x is also very impressive making for a premium quality item. (Sadly a number sold in the UK including the last example, seem to have suffered from a faulty supply of balsam, and have separated. One report has been that this actually did not affect the performance seriously as with the example seen and the lens was regularly used in spite of it: but it must reduce the value of the lens considerably. A repairer says that rebalsaming here is not normally possible. In addition, the Compur electronic in the last example had failed, and only offered Time and probably 1/500sec. Thus they are an item to purchase only with care if for use.) Sironar-N f5.6 This was made in 100, 135, 150, 180, 210, 240, 300, 360, 480mm at least. This probably is a redesign with new glass, and seems to be an excellent lens. It was among Rodenstock lenses featured in Modern Photo 06/1980 p10advert. for 100-360mm and 72°, with multi-coating and improved color correction. Other items then were: Grandagon f4.5 in 65, 75, 90mm; Imagon, ApoRonar and Geronar f6.8/210mm. A recent trend seems to have been to make rather specific designs for ultimate performance in them. Such items (See Hicks in B.J.P. 02/10/1996 p15) were the: Apo-Sironar Digital f5.6/90mm for 76° ideally designed for current digital formats and to give high sharpness in them. Apo-Sirionar D f5.6/120mm for duplicating work with 5x4in subjects. Apo-Macro-Sironars for 1: tp 2:1 on 5x4in.

Grandagon This is a well established series of extreme wide angle lenses. The f5.6 series were already on sale in 2/1968 and covered 90° at f5.6 and 100° stopped down even slightly. This series used 8 glasses in 5 components and was slightly unsymmetrical. Grandagon f4.5 65, 75, 90mm This is a new type wide angle with large external glasses, for excellent results. It is a little more compact than some others and therefore desirable. (App050) Grandagon f5.6 58mm for Graphic XL (1967) This is an 8-glass design. Grandagon f5.6 80mm for 9x12cm. This covers a diameter of 160mm at f5.6; and 168mm at f22. Grandagon f6.8 75, 90, 115, 155, 200mm A favorite lens, not as fast or as large as the others, but covering a really wide angle and with really good performance. It will be lower in price and easier to use on some cameras as it is smaller. Modern Grandagons are coded Grandagon-N and have advanced coatings and designs, and were seen at No10,895,31x and 11,092,28x. ApoGrandagon f4.5 45mm This was noted on a Horseman SW612 in a review by Hicks in B.J.A. 01/05/1996, p18. There was a value in stopping down for even illumination even f11 or f16 being worthwhile though only a cos3 dependance was thought to be present.

Apo-Ronar and Process Lenses Apo-Ronar f9.0 150mm for 6x9cm, 240mm for 10x15cm, 300mm for 13x18cm, 360mm for 18x24cm, 480mm for 24x30cm, 600mm for 30x36cm It has a dialyt design of 4 separate glasses. f16 1000, 1200mm. These were not noted in the 8/1968 list used for the items above. ApoRonar can be an excellent purchase for use on a large format camera such as 5x4in as the design, while essentially for process and macro work, it was one which works well at longer distances up to infinity. Thus the f9 versions were offered more widely in shutters as well as barrel mounts, than the f16 was, since the f9 was likely to attract general purpose users. It is specifically suggested for use at infinity. There seem to be several generations of this lens, as it has been a long term item, but it is not known if there were differences apart from eg. coatings. It was seen at No 5,181,33x, 6,281,70x and 6,290,85x (in Copal shutter). (App053). One point is that the 150mm version sold better relatively than many process lenses and is common enough to be worth looking for.

Fig 016 035 Rodenstock Apo-Ronar lenses (l) 2x f9/150mm No6,281,707 in barrel, and No6,290,854 in shutter; and (r) f9/300mm No5,181,338 in barrel. Today it is still attractive as barrel versions can be adapted to use with shutters due to their small size and are light and contrast in use. But note that the barrel versions do get heavy in the larger sizes due to the mounts used. Apo-Ronar-S f9.0 This was noted in Grossbild Tech. 2/1966 as a 2+1+i+1+2 version of the normal dialyt probably for the extra correction of colour. It has not been seen and seems rare. ApoGraphagon f11 This seems to be a process lens using the Q20 layout and was seen as a 240mm lens at No10,519,645, a fairly late number. It seems to be a late example of single coating, and probably covers a rather wider angle than the Apo Ronar. Fig 016 025 Rodenstock Apographagon f11/240mm No10,519,645 and Ysaron f4.5/210mm (Nono). ApoGerogon This was listed in USA as a f9/300mm lens, probably a process. Several have been reported and it may be a more important product than this entry suggest, but process lenses are often under reported. For general use, ApoGerogon is a sought after large format lens. Vario-ApoRonar f16 for 50x60cm subjects and a constant subject to film distance this could give from 1:5 to 5:1 size ratios. It used a 12 glass 10component design and weighed some 100Kg being driven by servo motors. (B.J.P. 06/10/1978, p865)

Geronar f6.3 150, 210, 300mm This is a triplet type, for lower cost and still high performance especially stopped down. Thus it can be an excellent way into a modern lens. Wide Angle Geronar f8.0 90mm only. A 4-glass Gauss type wide angle. This is a pair to the Geronar above. Culmigon f4.5 35mm Q20 Plasmat type I R Lens. for infra red work f1.9 57mm made by 1969, and described by E.Glatzel in 1969.

Enlarging Lenses Ysaron This was the budget postwar enlarging lens, coated and designed for high contrast. It was made in a series of amateur and rollfilm sizes. Fig 016 025 Rodenstock Apographagon f11/240mm No10,519,645 and Ysaron f4.5/210mm (Nono). above It was also used on camera.

Rodagon This was the top quality Rodenstock enlarging lens post war. It is thought this is a Q20 6-glass design, made in a wide choice of focal lengths, but no list is available. In B.J.P. 06/10/1978, p865 a new series of Rodagon lenses was announced as recomputed and in new mounts. They were f2.8/50mm; f4/60mm and f4/80mm and f5.6/105 and f5.6/135mm. There were also redesigned optics in 'old' mount f5.6 150, 180, 210, 240 and 300mm lenses and an f6.8/360mm lens. These were optimized for 1:1 to 1:10x and are best stopped down about 1 or 2 stops. By 1982, the line included an ApoRodagon f2.8 50 and 80mm for 2x-20x enlargment, and a Rodagon-P and Rogonar-S-P for the reprographic trade. The ApoRodagon f2.8/50mm was a 6g/4c symmetrical design (ie Gauss?) like the Rodagon but is apo corrected over 400-700nm and for big enlargments. It was 'new' in adverts from Odessey Sales in The Photographer 05/1996, p9 as 50, 80, 105, 150mm and the advert. shows an unusual 7glass lens apparently with the centre of a Gauss filled with glass. There were then a series of Apo Ronar, Apo Sironar and Apo Grandagon lenses and Copal Press shutters were a new introduction. There was also a: Rodagon-UV f4.0 60mm for microfilm work with UV sensitive materials.

Rogonar Rogonar S This replaced the Ysaron series and was a Q15 4g/3c design, and was available in f2.8/50mm, f4.5 as 60, 75, 90, 105, 135, 150mm. Up to 105mm they were in new style mounts like the Rodagons and were optimized for 4-8x magnification closed down 2 stops. Rogonar There was a down market Rogonar f2.8/50mm 3 glass triplet rather like the old Trinar. It was still made in 1978. Rogonar-SC f2.8/50mm f4/75mm The SC had a special feature of a slot in the barrel for extra optical elements from the Rodenstock Creative Print set. These include soft focus, non-uniform units, contrast variation, a cylindrical lens, and polycontrast filters. There was also a colour analyser. (B.J.P. 10/10/1980 p1019) Eurygon Wide Angle enlarging This was introduced at Photokina 1977(?) and extended in 1978 and was made as: f4.0/40 initially, f4.0/80mm in 1978. (B.J.P. 06/10/1978, p865)

Cine Lenses. Euron f2.8 38mm cine triplet, ? a long focus for 16mm. Q14 type f2.8 35mm This was noted as a long focus lens for Nizo in the 1950's. f2.5 37.5mm1961 Nizo 8mm f2.5 12.5mm This was on a 1953 Bauer Euron f3.5 75mm This was a cine triplet, ? a long focus for 16mm. (about 1955) Euron f2.5 12.5 This was noted about 1953 on Bauer 8mm cameras. Erinar This was a triplet listed in 1955, Q14 type. Epitritar f3.5-f5.0300-650mm This was a Projection Triplet type.Possibly still and cine. Splendon f3.5-f10.5 200-600mm This was also a Projection Triplet, possibly for still slides. Splendar f2.5-f4.0100-250mm Projection Triplet Kinemar Projection f1.3, f1.6 18, 22mm These were cine projection lenses. Q21. Ronar cine f1.9 10, 12.5mm This was a Q21 type, and probably a taking lens design about 1950. It seems to be very common especially as an 12.5mm for 8mm. Noted on Nizo Exposomat 8mm. (B.J.A. 1960, p242, 1958, p271.) Heligon f1.5 This focusing lens was the expensive version on the Nizo Exposomat in 1960 (B.J.A. 1960, p242) Ronar, Cine f1.8 13mm This was noted about 1960 on 8mm Bauer Sironar f2.2 10mm, This was used as a 10mm lens late in the years pre-1939. Yronar f3.5 135mm This was for 24x36mm and was a specialized form of dialyt (Rod017) for SLR's. The example seen at No4,240,40x, had a manual iris with a preset ring set by a button on a red scale. The lenshead had been fitted to a M42 adaptor, probably for use on a bellows. Ronagon This was a front lens for 8mm cine to give 0.5x focal length.

Ysarex: A series of Q15 type lenses. The 2/1968 suggests this was not just a new design with new Lanthanum glasses, but really a new product. It covers 55° Ysarex f2.8 50mm Q15 These seem to have an unusually large front glass and are an unusual design, and were used on the Kodak Retina Reflex as well as for general sale. Two layouts are Rod014 for the Retina lens, and Rod013 for general one. There do not seem to be significant differences. Ysarex f3.5 95mm for Graphic XL (1967 list) Q15 Ysarex f4.5 150mm for Graphic XL (1967 list) Q15. Ysarex f4.5 105mm for 6.5x9cm, 127mm, 135mm for 9x12cm, 150mm for 9x12cm, 180mm for 10x15cm, 210mm for 13x18cm. (The 127mm was not in the 2/1968 list with the other sizes.) The image diameters covered at f22 are respectively 138, 173, 184, 212, 261mm. This was made for large format cameras, and a special case was a f4.7 127mm version for Polaroid Pathfinder 110A (MCM 3/1960): this is a special case as the Pathfinder has fallen out of use and the Ysarex can often be obtained cheaply. It was for 1/4plate but should cover 5x4 as the image circle is about 230mm- very large for a lens of this type and the useful image at f4.7 seems to extend over 160mm or more. (Rod015) shows that it no longer has the oversize front glass of the miniature version. Experience is that apart from the Polaroid version, the Ysarex is not too common in the UK but is an attractive item when found. Eurygon- An old name reused for a modern retrofocus series. Eurygon f4.0 35mm 5g retrofocus Rod021, Rod022. Eurygon f2.8 30mm 7g retrofocus, Rod023. Eurygon Portrait Anastigmat f4.5 300, 360, 420mm. It was still made in 1955 lists. See also enlarging version above.

Telephoto Lenses. Typically these were sold under the trade name Rotelar. (App051) Rotelar f4.0 100mm 5-glass telephoto Rod025. Rotelar f4.5 135mm Rod026. Rotelar f4.0 85mm Rod024. Rotelar f5.6 270mm for Graphic XL. The 2/1968 list shows: Rotelar f4.5 180mm for 6.5x9cm It covers 120mm dia at f4.5 and 130mm at f22. f5.6 270mm for 9x12cm It covers 155mm dia at f5.6 and 165mm at f22 so it will be useful on 5x4in, especially stopped down a little. Both seem to be 2+1+i+1+1 designs, ie 5g/4c, in Compur 0 and 1 shutters respectively

Graflar for Graphic 35(?)f2.8 50mm Graflar f4.5 85mm Triplet.

Soft Focus Imagon f4.5/f5.8120, 200, 250, 300mm (and even 480mm) achromat, Rod010. In 1938 it was in 17-48cm and all could be had in shutters or in barrel mounts. (B.J.A. 1938, p261) It was one of the classic soft focus lenses before the war. This soft focus portrait lens was continued postwar and up to the present, but the range of foci has shrunk, being 200, 250, 300mm in shutters for 9x12 to 13x18cm, then 360-480mm for 1/1plate to 10x12in in a 1955 list. The above is a more modern list. It covers about 40°. Normally it was sold in shutters for large format cameras, but has also been supplied in tube mounts for medium format cameras. Here a 200mm was fitted for use on 6x6. Today the old 120mm is (sadly) discontinued. Imagon gives real detail overall, with extra softness added on top in a controlled way. An ND filter is supplied to allow larger apertures to be used. Note H&D knows it before 1939 as f5.8 only, in 170-480mm. In use, the grids allow light through the centre to form a sharp image core, especially from the smaller centre one. The outer holes are controlled by rotating the mount, and feed varying amounts of unfocussed light as streaks into the area outside the core- obviously if a star point of light is focussed, unobtrusively in actual practice. It may be that the real wining factor is the degree of control it allows. A modern example seen was a 250mm f5.8 No5,255,57x in a Cpnd 3. Fig 017 001 Rodenstock Imagon f(H)5.8/250mm No5,255,578 with iris units and hood.

There are many references to the use of Imagon but several seem to be from about 1960 as if it was relaunched then. See Jack Carter in Ind. Commercial. Photo. 10/1963 ICP Test Reports No36; Joseph Foldes, 'Introducing the Imagon' from Rodenstock, V 116/0460/IV/10 S ie ?04/1960. Carter especially describes the 3 stop plates. These have a central hole at f7.7, f9.5 or f11.5 respectively, surrounded by outer holes which can be covered partially or totally to give effective apertures of 5.8, 7.7 and 9.5, where the additional light will be less focussed and soften the image. Rodagon-UV see above.

Chronology- In this case the known chronology is at the beginning of the section.

Fig 29. Rodenstock Lenses. Exposure: Cooke Portrait 8in Lens. Back Row Rodenstock Trinar f3.5/75mm ex Precisa Rodenstock ApoRonar f9.0/300mm Rodenstock ApoGraphagon f11/300mm. Rodenstock Grandagon f6.8/90mm. Middle Row Rodenstock Uni-Imagonal Rodenstock Imagon 250mm Rodenstock ApoRonar f9.0/150mm in shutter. Rodenstock Grandagon N f6.8/75mm.

Roeschlein, Kreuznach, Germany. There is a suggestion in I. Baxter, Photographica World, Autumn 2000 p30 that Roeschlein had been a 'J.Schneider Kreuznach' designer who had also worked prewar with Meyer of Gorlitz on the Trioplan series, then ?moved to J.Schneider and then set up on his own account in Kreuznach to make lenses in the years after 1945. The firm seems to have closed after his death during the 1950's. The products known are mainly fairly modest ones, but this may be due to import restrictions in the UK after the war as they also included a f2/50mm lens. Luxar f2.0 38mm on Photavit (1950) ((This just may be the next item and a printer's error.) Luxar f2.9 38mm for 1x1in on Photavit, noted by MCM 1/1952. Telenar f3.8 90mm for Paxette. Telenar f5.6 135mm for Paxette. Pointar f2.8 45mm for Navax, and Paxette. It was noted on Navax No47x at lens No153,00x (twice), and at Nos73x/145,54x. But the typical use was on Paxette where some are coded Roeschlein and all are Kreuznach- some just lacking the name. They just may be posthumous. Cymat f7.7 It was fitted on Luxette 4x4, 1954. [Rotelar f4.0/75mm This has been listed for Paxette Electromatic as by Roeschlin, but seems to be a Rodenstock T.N.] E-Luxon f2 50mm This was noted as a rarity on a late Paxette at Serial number 107200- it is seemingly an unlisted lens.

ROJA=ROIA The old letter face makes the ROIA look like a J to an English reader, and it stands for Rathenow Optical Industry Institution or some such, and was an alternate name for E. Busch of Rathenow. [Notice there also was a MOJA in Munich.]. The firm also helpfully added 'vormals Busch' and vice versa when the name changed. It was in use about 1885-1905 but the exact dates are not yet known to us. The lenses are listed under Busch.

Rokuoh-Shah, Tokyo, Japan. They were makers of the Hexar f3.5/75mm lens on the GSK/99 aerial camera described in MCM Feb 1947. Also the Series 1 Hexar as f4.5/18cm No2343 on a Japanese Klapp camera.

Rokunar US importers brand name for a 1960's series of SLR lenses. It was well received in Modern Photo. 08/1968,p77: 08/1962. It just might overlap the Tamron programme.

Rolmax These lenses were made by Ohnoya Shoten, Ltd., Yasuda Building, 2-2, Kamidori, Shibuya-ku, Tokyo, Japan. The UK agents were Busch and Meissner, 91, Marylebone High St, London. Retrofocus wide angle f3.5 35mm preset iris Retrofocus f2.8 35mm in June 1963, a 5 element design. Telephoto f3.5 135mm same A 180mm was mentioned in 06/1963. Telephoto f8.0 500mm click stops iris. They were in black finish and engraved Rolmax with Ohnoya's name. See also Rolmax Ina for a fast long focus lens.

Romain Talbot, Fraunhoferstr.14, Berlin-Charlottenburg, Germany. They were an old established (1855) photographic firm and sold cameras as Errtee and Talbot, and these could have lenses such as Talbotar Anastigmat f4.5 as on the Errtee W.H. camera- a folder from the 1930's. There was an Romain Talbot Lampro f4.5/135mm brass lens on a 1/4plate Lancaster at auction.

Ross, 3, North Side, Clapham Common, London The manufactory was at Wigmore Street up to 1878, and then moved to Brook Street to more extensive premises. (BJA 1879). Sales were at 164, New Bond St, London. The firm was founded by Andrew Ross (1798-1859) in 1830 after serving an apprenticeship in optical instrument making. Thus he was in a position to be involved in photographic lenses from the beginning, and made one of the first big ones in the country, for Mr H. Collen. It was successful in the sense it was used and was fast, but had a very curved field, and the Petzval type was much better and displaced it. Thus the earliest Ross lenses accessible today are landscape meniscus and Petzval lenses. This period engraving can be recognised as the was "A.Rofs" has the first S as a long sweeping one. This persisted at least to No4,60x which has been seen. His son T. R. Ross was also interested in designing camera lenses, but it was to be the son-in-law, J.H.Dallmeyer who made the biggest impact, and this was after he had left the firm. Thus there may be a tendency for Ross lenses to be scarce from the period 1866 when the RR came from Dallmeyer's design, and the 1880's when the Patents were run out and the new dry plates were making photography a booming business to be in. It might be possible to divide the periods rather like this: Engraved A. Ross 1840-1859 (Death) Period. T.R.Ross (1860-1870) (Death) period. J. Stuart as manager of Ross and Co. period to 1890 or later into the 1920 period? Anastigmat (Zeiss) Period 1890-1914 perhaps. Independant Designs from about 1905. Ross Ltd was a limited company from 1897. Take over by C. Parsons 1922, (who also took over Grubb in 1925) and by Barnet-Ensign in 1949. Technically, British Photographic Industries Ltd. acquired the Ross company, and then held both parts. It later became a part of the Rank Organization but has not been active as a maker for many years now, and the name is applied today to imported goods.

A.Ross period. 1840-1859. Collecting experience is that at this time Ross had a dominant position as the UK maker, with Grubb of Dublin being the only onshore competitor and probably mainly from 1857, and possibly Wray from 1855. From about 1860, Dallmeyer offered very strong and spirited competition, and Ross never had quite the same position again. There must have been other opticians active such as Shepherd, but the main opposition was from the Continent, with lenses coming in from Voigtlaender and from a group of Paris makers such as Chevalier and Lerebours and the mysterious Bourgoni partly to fill the unsatisfied need.

Doublet for Mr Collen, 1841. (Layout Ros001) A unique lens of two unlike achromats well separated, and working at f4.0. (B.J.Phot. 1864, p329). This is a famous lens, and is well known not to be flat field, the Callotype negative being sandwiched between two curved glass plates to widen the area focused. It was also used as a Landscape lens with the front cell removed. The balsam in the cemented surfaces was actually castor oil. (B.J.A. 1900, p824). It is interesting to compare this with the Petzval lens set and with the Grubb aplanatic. Note the general similarity of the rear cell to the Grubb lens and it will be obvious why Mr Ross was 'surprised' that a Patent was granted on the aplanatic design. The use of unlike achromats recurs in the Ross Actinic doublet in the 1860's, the Dallmeyer Patent Petzval c1860, and for that matter in the Zeiss anastigmats of the 1890's, though the glasses used there mean these last are absolutely distinctive and new.

Lake Price knew it and pictures taken with it and thought these to be interesting and possessing considerable intrinsic excellence. It used a crown glass front with unequal curves, cemented to a plano-concave flint and at the rear, a plano convex crown cemented to a convexo-concave flint. The lenses were 3.5in dia. with 8in back focus (cf above, a 14in lens).

Single Landscape Lens This was made in at least 9.0-30in, at about f16-f20.An example seen was engraved "A.Ross London No271x" and was in a tube mount with a rack and pinion focusing movement, now lost. In use it is sharp and well corrected for colour at about f20, the 20in being for up to 12x15in. The very first Stereo cameras (eg 1850's) seem often to have been a single camera mounted on a slide so that successive pictures might be had, and at least one of these used a Ross 4.5in lens of 1.25in dia. and max. aperture f11, with a pill-box insert for f13 and a washer stop for f18. (S.Bowler, MCM 7/1957) Hasbroeck shows a Dallmeyer camera with two Ross meniscus lenses at Serial Nos 5814, 5815, and dates it from c.1862. Lenses at auction at Nos 448x, 476x and 866x do not have Waterhouse stops, and may use push-pull focusing though a rack+pinion was fitted to No450x, so it can be an early feature.

Fig 013 006 Example of early Rofs engraving .

Fig 013 008 Early Rofs meniscus lens, about 4.5in barrel dia., No2714.

Triplet Lens A very early triplet was made for Mr W.H.Fox Talbot in 1841. Cone Lens Here the achromatic meniscus was mounted at the back of a short cone to make a smaller item to carry. This was probably related to the Callotype period when the low resolution of the process meant large cameras were used, but it was a type of mount used occasionally by other makers at least to the 1890's. There may have been some loss in contrast as the cone had to be very well blacked to avoid light reflexion inside it. It may have been used with some shade in front of the lens to avoid this. These are usually dated as about 1850-1855. Hasbroeck shows one at No307x and dates it as 1850. Survival of these big cameras seems to have been poor owing to the small number and the popularity of the Daguerre process. Most of the early cone lenses seen have no engraved maker and are unlikely to be Ross, but rather imitations but it is uncertain who first made the design.

Stereo Meniscus Pairs. These are normal meniscus lenses of about f16 A 4.5in focus pair was seen at No3,27x and 3,33x, only one of the pair being engraved, and they were used with a simple shutter slide in brass engraved "Ross London". Another pair at auction were Nos 833x and 827x. Others have been illustrated from the Manchester region with a rotating figure of 8 shutter for a camera by Dancer, et al. They were made in 4.5 and 6.0in at least. These do not have stops but merely a front plate which could be unscrewed fitted with pairs of screws possibly for swinging lens covers. Incidentally cleaning the brass surface revealed very tough (or thick) lacquer on the front lens shade barrels, but a much thinner layer elsewhere. Very thin metal was used on these barrels and the ability to screw cut these is very impressive. The flanges are the same 1.5in fine as became so common in the later part of the Century- ie the thread was a really long lived item. In use on a 5x4 Press camera, one of these covered most of 5x4, but the 6x9cm image was really the best part, and this was much better than might be expected- really contrasty, and very sharp in the centre- though less so at the edge. The fall-off could be minimized if a compromise focus was adopted and then only the corner was noticeably soft. The main fault was some barrel type distortion, and this was not noticed unless straight lines such as brickwork were in the picture. Use of a green-yellow filter was worthwhile, ie it did not upset the colour correction.

Fig 013 015 Ross Meniscus Stereo Lenses with early shutter, at Nos 8,278 and 8,338.

Portrait Lens: Ross were making to the Petzval type design quite early, as is shown by No1,42x of 6in dia., No180x which is smaller for CdeV, and Nos 2,67x and 2,79x, of about 10in f3.7. No274x may be another: a 'large brass lens'. The latter has a stop to about f5.0 outside the front cell to increase sharpness etc. in portraiture.These were not usable with the rear cell for landscape as the threads of the cells differed, nor has another stop survived. They are likely to be before 1858 when Waterhouse proposed his stop system. No 267x was made over to the Waterhouse system and the barrel reengraved, probably by Ross in antiquity as there is evidence that there was engraving lost and replaced when a new slot was cut. No2,79x is original with a push- in front stop.* The cells are interchangeable front for front and rear for rear between these lenses, and the flanges are the same: but the older is in a plain brownish finish and the later in laquered brass finish though this may be due to the lacquer being removed from the older.There is still no slot for a stop on No4,42x. The mounts on these old lenses have fairly thin walled barrels,and these can suffer from denting and rough use: certainly the cells do not unscrew as easily as those on some makes. One point is the very long units used: the 180x lens was marked for CdeV (quite a small format) but used about 8in extension at infinity.

Lake Price says the Ross lenses were recomputed 'latterly' in his 1868 book, ie about 1860? to flatten the field and 'shorten the length of focus.' The latter increased the speed so probably involved increasing the separation of the front and rear groups. In general, Price classes Portrait lenses as of 3 types: (a) greatest rapidity, 3.25in dia, 6in focus-- say f2 today. (b) general use, 3.25in dia, 10in focus-- say f3.0 today This was the 'best compromise'. (In fact the three examples seen have been of this type and size! (c) slower and longer focus, about 3in dia, 15in focus-- say f5 today. Useful for copying and groups. It is under these that Price claims he first proposed a drop in stop as later popularized by Mr Waterhouse. (*Mr Greer in an article mentions that a Ross f3.8 Petzval was converted to Waterhouse stops by a dealer in Upper St, Islington,- but he may merely have sent it back to Ross for the work. Early brass lenses often have the rack-and-pinion mounted on top of the barrel for convenience. But the introduction of the Waterhouse stops meant this part was used for them and the engraving was lost with the big cutout needed for them in the outer barrel. Then the rack tended to move to the bottom as it was best placed so the load on it was symmetrical. The outcome was that the brass previously engraved was now often the area cutout for the stops and the side was engraved newly. But in the case of the Rofs, the sweeping serif of the A just overlapped the metal left behind by the cutout, showing what was done.)

Fig 013 002 Ross Petzvals 3.5in front glasses, Nos 2621 +2797 plus a dish type stop plate for one. Fig 013 004 Ross Another later Ross Petzval. (same size) No18,364 No3a

Compound Stereo = ] Stereographic Lens f4.0 These were essentially pairs of Petzval lenses matched for stereo work, and seem to have been sold with little optical change through the 1840-1900 period. In valuing these, note they may well be the very first stereo lenses offered, as Brewster seems to have dealt with Ross.

Orthographic This seems to be a redesign of the Petzval Orthoscop lens sold by Voigtlaender. The example seen seems to be about f14/16in for up to 10x8in, and the mount may differ from the Voigtlaender lens. The layouts are Ros004 and Voi 004 and do seem individual. One possibility is that Dallmeyer was responsible for the introduction, remembering his German background, so it may actually rank as the first of his introductions. In use it is a sound lens, producing a rather larger image than expected for the extension and no distortion was noted in use.[ Distortion was one of the original criticisms of the Orthoscop and Orthographic, but probably by rather demanding architectural and the first reprographic users as it is really quite good in this respect.

It was introduced in 1859, and was probably short lived as the RR would have made it seem out-moded. However Orthographic was a well liked lens and may have continued to sell at least until Ross was able to sell RR's. It was seen at No6,81x, in brass with a Waterhouse slot, and reported at No735x in the same but with a rack+pinion focusing mount. It was a short lens, approaching a tele,and this was considered useful in some situations. A good description is in Lake Price's book where he does not distinguish between the Voigtlaender and Ross versions but says he took 3 of each on a journeys to Italy. Fig 013 019 Ross Orthographic cf13/12in No6814.

Actinic Triplets. These were actually introduced by T.R.Ross in 1861 after A.Ross's death, and seem to have almost coincided with the Dallmeyer design. The Ross lens was made in 10 sizes from 7.0-34in (1/2plate to 24x30in) and worked at f16 or less. It was less symmetrical than the Dallmeyer and seems to be less common. (There seems in Kingslake's account to have been an earlier triplet lens for Fox-Talbot in 1841, and there were other triplets of the period by G. Shadbolt and F. Scott Archer. Some of these may shade into the French attempts to make adjustable focal length lenses by inserting negatives in the centre- interesting but not really optimized designs in themselves.)

Wide Angle Triplet- no information but it may be a thinner and slower version of this.

Ross had a commanding position in the optical business, and Hasluck credits him with 3 innovations. (a) The use of a hollow fronted (Wollaston) meniscus lens: (b) making a distortion free lens from two planoconvex lenses, essentially what was to come as the Periscop and (c) from T.R.Ross the use of meniscus lenses in a periscop, looking forward to the RR. But it is often hard to see where an idea originates.

T.R.Ross Period Actinic Doublets from 1864. These seem to be an attempt by T.R.Ross to develop the "Collen" lens layout, for general use, and note that this antedated the Periscopic and RR so possibly it was a bigger acheivement than is now realized. They seem to have used deeper curves, and smaller separation than the Collen one, and were made in two series with different inter-glass spaces. They were described as early examples of balsamed lenses by Ross- though the Petzvals he made must have had some balsaming. The components could be used alone. (By 1857, Grubb had patented the aplanatic and there may have been a bit of gamesmanship here). The two types were essentially Ros005 (early) and Ros006 (late), and they were made in three angles so that in principle a large number of versions can exist.

(1) Wide Angle for 85-95°. f16 This was the LA series. It was for use at f16. One of these No1 type was seen at no13,84x and is marked both 'Actinic Doublet' and L.A. 8.5x6.5, and seems to be about 5.5 or 6in focus. It has both a tiny swinging shutter plate inside and a large hinged front shutter cover. On a 10x8in camera, the image extended to the corners but with severe fall-off. But it could be stopped to about f96 and seemed to improve markedly on closing down so that whole plate would be well covered.

(2) Ordinary Angle for 60-75°. f14 This was the OA series. It was for use at f14. One type 2 of these seen at No12,48x was a lens for 7.5x4.5in of some 9in f16, and it seemed to illuminate some 60-70°, but with considerable fall off. It was probably an OA type, and interestingly had a small push-pull shutter built-in. Van Monckhoven mentions this shutter and says the lens is better corrected than the Globe, and gives the maximum speed as f15, with stops to f45. 'It gives images of remarkable sharpness--great depth of field-- rank with the best non-aplanatic objectives.' He comments on the need to stop it down (f32-for 70 or 80°) and on the 'remarkable sharpness' that can be obtained, and the suitability for architectural subjects (ie lack of distortion) but seems only to know the LA series for 80°. (He was writing in say 1865 for 1866 publication and details may have been hard to obtain abroad. He does not have details of the glass or curves as he does of Dallmeyer lenses of the period even though his book in the UK has Ross advertizing at the front cover.) Lake Price does not notice the redesign in 1868 but notes the cells are about equal focus and each about twice as long as the combination; but does not actually suggest their separate use. He is still impressed with these as wide angle lenses in narrow street or alpine passes. He quotes them as covering 95°, 74°, and 50° in keeping with the other authors, and mentions one made for the Belgian Government of 8in dia., 48in focus, for plates 50x42in, the smallest being 1in dia and 4in focus.

Fig 013 017 Ross Actinic Doublet for 7.5x4.5in No12,489 with 'shutter'.

(3) Small Angle for 40-50°. f8.0 This was the SA series. It was for use at about f8 or less, and a 14in covered 1/1plate. No example of this has been seen.

Single components were usable with care. The Actinic Doublets would become less saleable after the issue of the Aplanat and RR from 1866, and may be a way of pin-pointing Ross's serial numbers as No13000 in about 1865(?). But note that Hasbroeck describes a prestige outfit made in the 1870's as having SA and OA doublets at Nos 17,00x, 18,10x and 18,02x so they may have continued in sale till the Patent on the RR was matured and Ross was able to supply his version. An actinic doublet at auction was No13,26x but without further detail. Note that the major features optically are the use of very unlike components with one balancing the corrections of the other- [compare Steinheil's Antiplanets, and Rudolph's Anastigmats]. And that these were separable, as was the Collen lens, providing a pair of Meniscus lenses- compare the Grubb Aplanatics. The A.O. and L.A. above are fitted with rotating disk stop plates, the disk turning between two plates fitted inside the barrel. The Actinic Doublets are not easy to find today and this may reflect the few Serial numbers noted for this period.

Some other early lenses for which no dates are available and little information, are as follows: Globe Lens A number of these were made to the Harrison (USA) design under licence. Wilsonian Lens 6in focus Hand Camera lenses 3.0, 4.0, 5.0, 6.0in. These seem to be later items, but no details are available. Compound Stereo Lenses- probably Petzvals as before?

Symmetrical This seems to be the Ross version of the RR. It is not at present easy to say when manufacture began. (One account was that the Ross design was based on the Steinheil lenses and this may have started a Ross tradition of having German designers working for them.) There has been a suggestion that it may be 1874-1875 when in the Stuart period that the Symmetrical appeared, possibly after an agreement between the firms over the RR Patent rights, or more likely 1880 as the Dallmeyer Rapid Rectilinear patent ran out. Certainly experience suggests a limited supply of Ross serial numbers from 10-40,000 were used on camera lenses, and possibly some of them may have gone on unrelated products in this period. Equally the advert in the 1879 BJA is that of a large scale maker. The Symmetrical was certainly made in very large numbers later in the century, was well known and liked, but now seems scarce at lower serial numbers. (Traill Taylor says the Portable Symmetrical of Ross and Co was based on the Steinheil Aplanat and wide angle aplanat, which might explain how it escaped the Dallmeyer patent situation.)

Symmetrical A symmetrical at No21,849 seems to be about 250mm with 15mm opening, ie a portable at f16, even though of RR type. It is in brass with a disc for the stops. Incidentally, there is evidence that Symmetrical No7/9in No23,79x was made before 1874, as this was the date of M.Claudet's death. Universal Rapid Symmetrical f5.675 (!) This may be the same as the Extra Rapid Symmetrical RR below, and just a slight change in the engraving? It was noted for 10x8in at No47,31x, which may be 1885-1890 period as the Rouch camera was one with a patent feature from May 1885. Symmetrical Stereo Lenses in 3.0, 4.0, 5.0, 6.0in. A pair at auction seem to be 6in No4 at Nos 25,28x and 31,79x.

Fig 013 027 Ross Symmetricals f8 approx. for 10x8in plate (No42,440 at rear) and 4 for 1/4plate or 5x4in, where 2 are wide angle versions at f16. Fig 013 029 Ross Extra Rapid Symmetrical No51,778 for 10x8in showing the engraving.

Universal Lenses f6.0 These were made in 8.5, 10.75, 13.5, 16.5, 20, 24, 30in. The relation of this series to the f5.675 ones above may merely be engraving; or period. Later they were just 'Symmetrical'. A 'Universal' at auction was a No1 No45,40x for 1/2plate with Waterhouse stops.

Other lenses such as Petzval and meniscus were also in production.

One subsidiary interest in Symmetricals is the stops. Small ones use a rotating disc, and this may show as a screw-mounted unit with a fine spring to give the click at the apertures when the front lens cell is unscrewed. But about half have a second plate inside the barrel covering the spring and plate so they are hard to service. This extra plate seems either to be screwed in very tight or with glue (Shellac?) in the threads and is now hard to remove. The choice is not one of date or price but today seems to be at random, possibly due to the assembler or Agent. Larger lenses such as a 6in Symmetrical use Waterhouse stops. Initially the aperture discs are numbered for holes 1-5, but at Serial Number about 43-47,000 they are marked in F numbers, eg f16-f64. Finally of course they went over to iris diaphragms. These were first noted at No52,04x on a Concentric, but this may be a special or delux item such as an anastigmat, as some later lenses were made with discs.

Other products of about this period are binoculars, which may have been another reason for the parallel interest with Zeiss later on, and these just may have the serial numbers so scarce on lenses.

A snapshot might be the B.J.A. 1878 advert. pxi which lists as follows: Portable Symmetrical Lenses for Views and Architecture, which give a flat field and exquisite definition, interchanging in one flange. They were supplied in 3.0, 4.0, 5.0, 6.0, 7.0, 8.0, 9.0, 10, 12, 15in. where 5in was intended for 5x4. Larger sizes were available to special order. see note above that it was based on the Steinheil design for the aplanat, of different types of flint glass with rather thick glasses compared with the RR. Rapid Symmetrical Lenses for Portrait Views, Interiors, Copying. These were possibly the most useful in existence. They were supplied in 4.5in for stereo 4x3in; and in 6.0, 7.5, 8.5, 11, 13, 16, 20, 24, 30in, where 7.5in was suggested for 5x4in. Larger sizes to special order. Universal Lenses for Portraits and Groups, in Studio, Interiors, Views etc. These were made in a back focus of the following: 7.5in (2.0in), 10.75in (2.25in), 13.5in (2.75in), 16.5in (3.25in), 20in (4.0in), 24in (5.0in), 30in (6.0in) where the diameter in inches is in parenthesis, and corresponding to about an f6.0*, possibly a Portrait RR, since they were "flat field". They covered 40-50° and 13.5in was suggested for 10x8in. (*It is likely that internal baffles would actually limit the useful aperture to about f8.)

Portrait Lenses for Vignettes, Half-Length, or Sitting Figures. These were detailed as "Improved Portrait Lenses" and supplied in 10, 12, 15, 20, 24in, where the 15in was suggested for 10x8. Quick Acting Carte-de-Visite Lenses Invaluable for the production of Standing or Sitting Figures with full Aperture. They were made in 4.5, 4.75, 6.0in, all for CdV format, the 6in being suggested where the studio exceeds 20ft long. Extra Rapid Carte-de-Visite Lenses for Children. "Work in half the time". These were made only in 4.5, (2.5in dia.) and 6.0in. (3.25in dia). [A 6in of 3.25in dia. seems to be about f1.85 but possibly more likely f2 as about 2x the speed of a normal f3.7 Petzval. The 6in was £25 compared with the QA 6in at £11.5 which may explain their rarity. Rapid Cabinet Lenses for all the sharpness and good qualities of the Portrait Lenses but a flatter field and better marginal Definition. These were made in 6.0, 8.0, 10in apparently all for Cabinet size pictures, the longest being preferred if the Studio exceeds 20ft long. Again these may be Portrait RR lenses. Stereographic Lenses for Street Views with moving Figures. These could be had in accurately matched Pairs. Also Portrait and Landscape cameras, and apparatus of every description. Ross were 'agents for Dr D. van Monckhoven's Photographic enlarging apparatus' on the inner front of the 1867 English edition.

At that time a secondhand dealer in London, Mr W.Lawley and Son of Farringdon St offers secondhand lenses by the following firms, Ross; Dallmeyer; Voigtlaender; Steinheil; Grubb; Jamin; Lerebours; Shepherd, and this was an interesting window on what was available at the time and how they might be arranged in order.

J. Stuart Period. Stuart seems to have been a manager rather than a designer (B.J.A. 1927, p363), (although Monckhoven p167 mentions he 'adopted' a solar camera without a reflector for enlarging in 1863) and was supported by opticians, many of whom were from Germany, underlining the better progress there in optical design at that period. Thus names such as H.L.H.Schroeder (Concentric), F.G.Kollmorgen, W.F.Bielicke and J.W.Hasselkus were part of the scene. (Hasselkus was a long term employee, the others seem to have used Ross's as a stepping stone to other jobs, eg. in USA. But the foreign influence may have dampened some local employees enthusiasm.) This must have meant that when the new glasses and anastigmats were developed Ross had an example in the Concentric, and also access to Zeiss who had designed them and may have initially lacked production capacity, so welcomed partners to manufacture under license. H.L.H Schroeder was invited to join Ross in 1882, and worked there till 1894, which would cover the introduction of Jena glasses in the older RR-based products, and the Concentric, as well as the first of the Anastigmats from Zeiss. This bridge is important since the fate of a company who lacked an anastigmat by 1895 was decline. The initial products were not too different but will be listed as more details are available. Incidentally although the concept of the f number was much older, it is only in the later 1870's or 1880's that lenses seem to be advertised with this information reliably present. Hence the gaps above.

Rapid Symmetrical This is said to have been introduced in 1874. It was made in: f8.0 4.5-6.0-16.0-30in (Foci may vary with time.) One list gives 3.0, 4.5, 6.0 for 5x4in, 7.5, 8.5, 9.0, 10.5,11,12, 13, 14 for 10x8in, 16, 18, 20, 24, 30, 34in. Rather more foci were in 1889 than later. The layout is shown as RR, Ros012, Ros013. It was suggested to use 6 or 7in for 5x4in. This may be the standard product but is not very common most being rather small lenses in 1.5in fine threads for 1/4 and 1/2 plate. An example No42,44x for 10x8 is probably from the redesign type below. The lens flange here is 24TPI but 65mm (2.6in) dia. which seems an anomalous choice. This may have been redesigned in 1890 approx. as then it was again listed as 'new' and this may be a sign of the use of Jena glass beginning. At that time the foci listed were : 3.0, 4.0, 5.0, 6.0, 7.0, 8.0, 9.0, 10, 12, 15, 18, 21in. Examples: a f8/6in No59,67x was noted on a Lizars 5x4, and a 9in No7 size No23,79x was on a wet/dry plate from the 1867-1874 period.. Stops were No0, f8; No1,f11.3; No2, f16; No3, f22.6; No4, f32; No5, f45.2; No6, f64.

Portable Symmetrical f16 (RR, Layout Ros017) It was made in 3, 4, 5, 6, 7, 8, 9, 10, 12, 15, 18, 21in. The 8in covered 8.5x6.5in at full aperture and 10x8in when closed down. The first 10, up to 15in, all fit the same flange, and Nos 1-8 (10in) used rotating disc stops. This is to ease use in travelling, etc. This is again a product dating from 1874, and again was probably updated in the 1890's. The portable was made in 3.0-21in,( normally 5-10in) and is not a unique type of product to Ross (eg TTH made an MAR in the same market slot.) but perhaps one they developed, as it is a semi-wide lens, rather than a WAR, but designed for lightness and portability to compete with the f8.0, and perhaps for better contrast from the smaller glasses. Whatever the idea, it was really popular in some applications, and today is a nice item and many of the small Ross lenses in the 1.5in fine screw thread mounts are apparently of this type. This 1.5in size used a rather standard thread and barrel diameter, and this was carried on into the anastigmat period so the products look rather alike. But note that the barrel length was varied as required and that care is needed as the cell threads are often the same but should not be exchanged into barrels with a different length. Symmetricals do not seem to be common in iris mounts, these being mainly or always for anastigmats, where the change again affected the barrel length. Alloy A symmetrical 6in No51,98x was made in alloy for an Shew Eclipse which was made from about 1885. A note in B.J.P. 19/09/1879 cited 21/09/1979 lists a good outfit as Camera, 3lbs; Dark Slide, 1lb; Changing Box, 5lb; Lens, 1/4lb; Focusing Cloth, 1/4lb; and Set of Camera Legs and Stand, 2lb; total for 12 exposures 11.5lb. It is worth noting the sensitivity to weight in carrying a changing bag rather than 12 plate holders, and the relative lightness of the lens. This was the sort of customer the Portable sold to. (Format is not mentioned but probably was 1/1plate.)

Universal Lenses These were noted in 1889, and were in large sizes as if a faster f6 series. They were made in 8.5in for 1/1plate, 10.75in for 10x8in, 13.5in for 12x10in, 16.5in for 15x12in and 20in for 18x16in. They were between the Portrait and Rapid Symmetricals in properties.

Extra Rapid Symmetrical f5.6 This was made in 4.5, 6.0, 7.5, 9.0, 10.5, 12, 14, 16, 18, 20, 24, 30in. It was not a wide angle design but it was still suggested to use 6.0 or 7.5in for 5x4in, and the layout is shown in Ros014. For most, it will rate as a 'Portrait' lens. It was seen at No5177x, as a lens for 12x10in with iris f5.6 to f64. It is a really substantial brass item, but the focal length is not shown on it. It was about 16in and 2.5in dia.

Aplanatic f5.6 This seems to be a new listing term for the above about 1900, and may be an attempt to make one lens to sell in place of the f5.6 and f8.0 versions. It was replaced in turn by the Homocentric in c.1903 (B.J.A. 1903).

Wide Angle Symmetrical f16. It was made in 3.0, 4.0, 5.0, 6.0, 7.0, 8.0, 9.0, 12, 14, 16in In use this is a typical wide angle rectilinear, with a very wide coverage for 90° or more and 3.0in was suggested for 5x4in. It was described as free from distortion and flare. But some of the diagrams do seem to be different. (Ros015, Ros016). It was introduced with the others in 1874-5, but again was 'new' in the 1890, probably with new glass. These are really relatively common, often coming in the 1.5in fine thread standard in the 1890's. Serial numbers tend to be in the range 40-50,000 and the normal one is the 4in which would be an easy lens to use on 1/4plate cameras. Lummer confirms their sharpness at small stops, but used today it must be remembered that they are not anastigmats and care is needed, especially in avoiding important fine detail at the corners of the image. After the redesign in 1890, the Symmetricals were available in some 46 versions in the 4 forms. The new Schott glass was also used in the following lenses at this period. This must have made Ross a major customer for the Zeiss/Schott firms, and may also help to explain the licensing of the Anastigmat designs to them. These were seen at Serial Nos 53-54,000.

Wide Angle Single Landscape f16 This was made in 5.0, 6.5, 8.0, 10, 12, 15, 18in., and covered some 70°. This was a 3-glass meniscus rather like the Dallmeyer lens, and was said to be useful at f16, the maximum aperture. It did show some distortion, and care was needed with architectural subjects- put them in the middle of the image! In this case wide angle was 5.0in for 5x4. It used Jena glass. Today it does not seem to be easy to find.

Stereo View Lenses in 1889 were in 4.5in and 1.25in dia., plain and with Rack and Pinion. They were also in 6in and as a Wilsonian Single lens 6inx 1.5in dia. There were also Compound Lenses for Portrait and Groups with and without rack and pinion. Petzval Portrait Lenses At least two series were offered- and probably three if the Carte-de-Visite is to be included. These were still to be listed in 1936, in: No 1 f3.5 8.25in focus, 2.75in front dia. for cabinet pictures. No 2 f3.5 10in focus, 3.25in dia. No 3 f3.5 12in focus, 3.5in dia. still for cabinet size. No 3a f3.5 16in focus, 4in dia. for Promenade and cabinet pictures. In 1889 they were in 6.0, 8.0, 10in. and these were then No1, No2, No3 respectively. Most adverts. say larger sizes to order. The Portrait f3.5 had the traditional design. It was made in 7 foci, from 8.25- 16in (Ros009) Improved Portrait in 1889 was as 10in for 1/2plate, 12in for 1/1plate, 15in for 10x8, 20in for 15x12, and 24in for 18x16. It just may have been a Portrait RR but seems to be a Petzval. Rapid Cabinet It was made in 3 sizes, 6.0, 8.0, 10in This was claimed to be flat field, and may be a revised design with Jena glass to correct better. The section does not seem to be very different (Ros010). Carte de Visite This may be a faster Petzval design, and were made only in small sizes at 4.5, 4.75, 6.0in focus. They were said to differ and give a flatter field.(1889) Meniscus lenses were probably still made: an Adams 1/4plate carried one at No77,50x. NB In 1889 Ross were listing Petzval type lenses of 3 types. CdV, in 4.4, 4.75, 6.0in; Rapid Cabinet in 6, 8, 10in and Improved Portrait Lenses in 10, 12, 15, 20, 24in, so the list is rather confused!

In ending this section it must be stressed that late in the Century Ross obviously were doing a massive business in small Symmetricals, typically the Portable and Wide angle. A range of English lenses of that period all were made to fit one flange size and this could serve for 1/4 and 1/2plate lenses and these were the popular sizes of the period. These are an interesting user-collector area today as they are convenient in size and also often work very well- and are small to carry and only one panel is needed to use a boxfull! A set can contain lenses by Ross, Wray, Dallmeyer, Swift and even Zeiss, and will overlap from the RR period into meniscus lenses and also into anastigmats such as the Protars 1-7 and Goerz Anastigmats from the Ross series below. A nice Ross feature can be a clicking iris so that the lens can be set without looking at the scales- something others might have well copied considering the invisible engraving so often used on the older lenses and especially from Germany. These have been noted on Anastigmats, Protar V11a and others. And even a Zeiss Tessar has been found in this fitting.

It is now hard to realize how fast technology was developing. Beck (q.v.) had introduced the iris about 1880 and Schott brought in the new glasses in 1886 and the anastigmats were designed about 1888 onwards, so the firm must have had to look at the entire product line almost every 5 years over this period- and this was something which continued as Rudolph/Zeiss introduced new designs steadily through the 1890s with news also from Goerz and possibly others. To a group of workers used to continuity in making Petzvals, RRs and meniscus lenses for 30years or so, it must have been a real change.

The coming of the Anastigmats: Zeiss. Ross must have been an obvious firm for Zeiss to agree license arrangements for the new anastigmats as they were launched. Thus Ross actually had an anastigmat design of their own, were major makers with capacity to manufacture and a proven customer record with Schott, and had German employees to speak the language. And what is little known is that Dr Schroeder had pre-empted the triplet design which was the first Abbe and Rudolph tried. (Traill Taylor, p180).

Triplets These were designed by Dr Schroeder rather like Zei 001 but with 2, 3, or even 4 glasses in the centre component. It is unlikely that these were ever made commercially however.

What is more surprising is that they also made lenses under license for Goerz- essentially the f7.7 Dagor- and another type without an originators name. It is quite possible that these licences covered not just UK but the countries of the then Empire. But this was rather what was happening in the industry as the new revolution began. It gave Ross a very strong position in the industry up to 1905 and probably lasted to 1914. Incidentally, the engraving on the mounts is now getting to be more informative but may need a glass to read it!

As Zeiss Licencees. The series seems to have covered most of the Zeiss anastigmats as they appeared in the 1890's and serial numbers are indicated for those seen. The serial numbers are 'odd' and probably are a new series for the job, but it is not possible yet to say if they are one series for each type of design, or for the whole lot. But they are a source of low numbers for collectors who are interested in such things. This was the second period when Ross had a dominating UK position, though not to quite the same extent as in the 1840's. Again it was to disappear, as patents ended and the war destroyed so much. (Incidentally they had an agent in 1901 in Belgium/Holland, MM. de Behr et Waefelaer, of Rue Terre Neuve 70, Bruxelles, but there is no indication what products they sold.)

Zeiss 1890 types. Series 111 f7.2 2+2 glasses.This was seen as a 98mm lens at No70x and at No48x for a 315mm. This is a normal angle coverage lens, roughly to replace an RR. The lenses seen are good performers, sharp and contrasty. But where 315mm examples were compared the Ross lens was less flat field than the corresponding Zeiss lens. The difference might be noticed in use at f16 or greater. Also the external curves differed. Initially it was thought that Ross did a detailed redesign to suit English glasses, or probably the Zeiss lens is an improved design. The latter proved to be correct, as is described under Zeiss, and No48x matched the curves of an early Zeiss Anastigmat Ser III but not a late one. Ross seem to have listed Series III at least to 1896, and then the 111a replaced it.

Fig 014 010 This is a set of f7.2/315mm Anastigmats by (l) Zeiss No1511; Ross No482; and Zeiss No19,515 ( the last lens differs!).

Series 1V f12.5 2+2 glasses (Ros022) This was a rapid wide angle lens rather in the same product position as the old portable RR had been, and of course was an improvement on it. A Ross lens was seen at No83x for a 260mm. It is a compact lens to carry, but is said to have been a rather short lived product, replaced by Series 111a.

Series V f18/f16 2+2 glasses,( Ros023 ) In 1901 it was made in 86, 112, 141, 182, 212, 265, 315mm for 100° and then 460, 632, 947, 1310, 1660mm for reproduction work over 85°. This was an excellent wide angle lens and was made for many years, probably from 1890 till 1950. It covered 110°, was free from flare and the only problem was the small aperture, which makes focusing hard indoors. It is the lens where experts advise you to carry one or more torches to place at important positions in eg. a church and to focus on these, (removing them before the exposure of course.) It was initially made at f18 as seen at Nos 5x, 30x and 20x for 112mm lenses, and then Zeiss allowed lenses for the UK market to be made at f16 and this change was made as early as 1896 while the adverts still carried the Zeiss co-name. This was seen at No14,11x and later numbers. One advert. shows Series V with a 3-glass rear component, but this is likely to be in error. Some are marked in the Uniform series of stops, and this is a sign of an early lens, and this is true for all the series.

Zeiss1891 types (Series 1) f4.5 2+3 glasses This has not been seen and may be rare or not made by Ross. It would be replaced by the Planar Series 1a in 1897.

(Series 11) f6.3 2+3 glasses (This covers 85- 90° when stopped down. This was a fast lens for the time since performance at f6.3 was good, but it has not actually been seen from Ross. (It may be that the Goerz lens was sold instead of it.) And then an example No101x was noted at auction as an f6.3/85mm on a Sinclair tail board camera. So it actually was made and was listed in 1896-1898 however but may be the scarce one today.

Series 111a f9.0 2+2 glasses. Ross is said to have made this from 1891. It is a useful semi-wide angle lens, covering 97°, layout Ros021. The design was intended to be a moderate price wide field lens, with good contrast, and a process lens in the longer foci. It has been seen as a small brass lens at 120mm f9.0 No2,06x and a 196mm version at No2195 which was in brass for the 1.5in fine thread mount.

Zeiss 1893 type. Series 11a f8.0 2+3 glasses (Layout Ros020) This essentially was a replacement for the Series 11 and has been seen at No183x, 2,00x, 3,21x and 8,05x (which has click stops). It was noted from 1896-1900 at least. Tentatively Series 1V was deleted about 1891 when 111a was sold, and Series 11, 111,and 111a were on sale to about 1901, while the f16 version of Series V survived for many years. In fact one 86mm f16 example in brass is numbered No229,485 which should be from the mid-1940's and this is in line with the fact that it was still listed at that time. About 1900 the anastigmat foci sold were as follows: Series 11a f8.0 110, 136, 167, 205, 244, 295, 350, 433mm, covers 75° It was suggested to use 5.25in for 5x4in. It was noted in lists for 1896-1900, and then ceases. It was noted as a 220mm f8.0 lens with iris at No1269.

Fig 014 002 Ross-Zeiss Anastigmats (l) Ser III f7.2/315mm No482; (m) IIa No2007; (r) IIa, f8/220mm No1269. A lens seen was a "f8 272mm (10.75in) Anastigmat W A (=wide angle) No805x", so it was sold as a wide angle. This lens covered 10x8in on a Gandolfi camera with full use of the rising front, and seemed to give a sharp bright image, but may not have been fully flat field at f8- though fine stopped down to say f16. This illustrates one question- that of relating the specification to the Series Number as these are not engraved on the lenses.

Series 111a f9.0 120, 150,172, 196, 230, 272, 317, 407, 505 600, 690, 820mm. Covers 97° It was suggested to use 6.75in for 5x4. It was noted for 1898-1902.

Fig 014 005 Ross-Zeiss Anastigmats (l)Series IV f12.5/98mm No703; Ser IV f12.5/260mm No837; (m) Ser IIIa f9/120mm No2069, Ser IIa f8/120mm No5216; Ser V f18/141mm, No53.

Series V small f18/16 (75),86, 112, 141, 182, 212, 165, 315mm , covers 108°. It was noted in 1899 and onwards at least. The maximum aperture varies. It was suggested to use 112mm for 5x4, but this seems rather conservative and 86mm or even 75mm will cover. Fig 014 001 Protar Series V by Zeiss f18/112mm No18,932; Series V by Ross f18/112mm No301; f16, No14,118; 141mm No123,416; 86mm No229,485 on the right.

V large f16 460, 632, 947, 1310, 1660mm, for 90°. These large versions were sold for process work, which may be why the angle claimed as covered is lower. They do exist, and a 1310mm version was recently noted at serial No 6000 approx. In the absence of the 'process explanation', it would seem to be absurd! Incidentally, the mounting thread here was machined of square as on the TTH lenses. This market will have been lost to other process lenses in the new century, and by 1905, the Series V was only made in 3-16in (c.76-408mm). A note in the 1914 B.J.A. describes lenses from 3.25 to 12.25in at f16, for 90-100°, eg 5.5in covers 1/2plate at f16 and 1/1plate at small apertures eg f64.

It must be remembered that the number of designs coming into production was large and unprecedented for the firm and must have complicated production. Little can be said about the serial numbers except that they certainly are a new series, since No53 suggests a new start from scratch for the 1890 designs. All the 3 digit numbers are for lenses issued in 1890, which might suggest one series to cover all types. But this may not be compatible with a No2,00x for a design first sold in 1893, since it would suggest that only 2,000 Zeiss Anastigmat design lenses were sold in 1890+1891- this is possible but it seems rather low in view of the ease of finding them. But then note that the highest number found (apart from Series V) was only No 3,21x, and it is likely that the highest made is not more than say twice this figure, which would suggest a production of some 400 per year in the decade- or more like a peak of perhaps 1000 per year. So a figure of 1000 per year for the first year may seem in line. The advert. in Photo. News 07/08/1896 shows Anastigmats 11a, 111a, and V only, with the new Protar V11a and Goerz Series 111 (f7.7)and 1V (f11) and Concentric. Note that the specifications are a close match for the older series of RR, Portrait RR and WAR, with the Portable equivalent to Series 1V. The fact is that Ross and others did continue to sell RR's as less expensive lenses, but the trend was to the modern type, and sales of RR's were falling. See also the Zeiss section on the number of Anastigmats made by 1900 approx, and note that Ross seems to have been one of the active licensees.

Concentric This was arguably the first anastigmat, since the Patent was Brit Pat.5,194/1888, but it did not go on sale until 1892. Traill Taylor in 1892 writes as if Schroeder & Stuart designed it. The delay was to check that the glass did not weather too badly. This delay may have been due to Ross's caution, but it equally may have been due to Schott controlling the supplies, and wanting to avoid a new product spoiling a reputation The delay was noted in the original reports of 1892 as 4 years. It is known that Dr Miethe (working with Hartnack) had designed a rather similar lens using phosphate glass- and then dropped the idea owing to damage to exposed surfaces. Ross may not have known this about a rival's lens, but Schott would be likely to know and could control supplies and recommendations. All the glasses in the Concentric and some Zeiss Anastigmats had at least one exposed surface, even if it was an internal one. This may have been a concealed advantage to the Goerz Series 111 as one glass was completely sealed in the middle of each cell and could have been made with a less weather resistant glass.

Concentric f16-f32 3.0-18in in 1900. It was made in 3.0, 4.0, 5.0, 6.0, 7.0, 8.0, 9.0, 10, 12, 15, 18in. in an earlier list. It was suggested to use 5in for 5x4, when it then covers a 8in circle.(Roughly 75°). It has been illustrated as a single meniscus lens, but is really always used as a pair. (Ros018, Ros019). The half lens may be illustrated to show that the surfaces are truly concentric- hence the name. It would be of negative power if it were not for the plano-convex outer of high R.I. glass (1.59-1.61)and low dispersion- cemented to an inner plano-concave of lower R.I. (1.50-1.53) and equal or higher dispersion.

Originally f16 was suggested for pictorial work, but today it may seem best to use f16 for composing, focus at f22 and shoot at f32. It then works really well and is a really nice flat field lens to use- but it seems odd that smaller apertures were not provided on many lenses. The 18in seems to have been f32 max. and had disc stops to f126. The design was by H.Schroeder, and the prototype was made by Orford. It used a low index flint and a high index crown. Astigmatism was corrected at about 30° and lessened elsewhere. It was very flat field and was best at f16 or less- preferably f32. The original reports were very enthusiastic (Am. Photo 29/04/1892, p34, Photo News, 29/04/1892, p280; also 01/07/1892) and the latter enthuses over the fine soft image at f13(!) and suggests f20 for perfect coverage. It does seem that initial supplies were very close in date to the Zeiss lenses which may not have been actually issued till somewhat after the dates above. Concentric was a rather shortlived product however, and must have been obsolescent by 1900, but the same was true for some of the anastigmats. A major factor must have been competition from better new designs which replaced them. The Concentrics have typical Ross serial numbers as expected, and have been noted at about Nos 47,900-52,500 as if the product had a good sale over a limited period. The early ones used a disk stop plate with a 16.5mm space between the cells of a 6in lens: later they used an iris with a barrel 22.5mm long. There is an obvious danger of cells being wrongly assembled here as the threads on both are the same (c.35mm dia.) if an owner has both types.

Fig 013 034 Ross Concentrics (at front) 6in No52,044; 6in No47,971;(l) 15in No 51,766; (r) 18in No 47,680 (part). Zeiss Double Protar as Convertible Anastigmat The next design issued from Zeiss in 1895 was a versatile 4+4 symmetrical anastigmat, the Series V11/V11a. In this each half was a complete anastigmat so that single cells were perfectly corrected, only their low speed (f12.5) limiting their use. It was also possible to sell pairs with cells of different focus, so that the user had a choice of three foci. The singles were sold as Series V11, the pairs as Series V11a. They seem to have been issued from 1896 (Photo News, 07/08/1896.) Ross seem to have listed them from 1896 to about 1900. Series V11 f12.5 made in 4.0-39.0in (100-1000mm) in 1900, to cover 85°. Series V11a f6.3 made in 61-595mm and 4.125in covered 5x4. These were f6.3-f8 varying with the cells used in the pair. Sets were sold, especially Set C for 1/2plate, Set D for wholeplate, and others to order. These are not common in the original package, but can sometimes be made up from different lens sets. These have been seen at No10,20x, 3,87x, 12,93x and 4,01x and may be marked Zeiss Anastigmat or Zeiss Convertible.

Fig 015 006 Ross Zeiss Protar VIIa in Compur f6.3/c.6in, cells 2x14in.

Planar This was a Zeiss lens from 1896 or 1897, and it was derived from the Gauss lens. It is not common in Ross guise, two being met at No5,84x and 10,74x. It was made in apertures which varied partly with the focus rather than just in different series each all of the same aperture. In 1902 the range was 20-840mm in 19 foci. f4.5 20-100mm 5 foci f3.6 40, 60, 83, 110mm f3.8 130, 160mm (Lummer quotes f3.8-f6.0 for 62-72° in 1900.) f4.0 205, 250mm f4.2 300mm f4.5 370, 423mm f5.0 470, 610mm f6.0 840mm. Planar was just separable if used at really small apertures. In use it can seem flary, and benefits from stopping down. This is the ancestor of modern Planars and all 6glass Gauss lenses, but also distinct from them. It was noted in lists 1898 (Series 1A) to 1902. Fig 015 023 Ross-Zeiss Planar f4/250mm No5842.

Unar This was a Zeiss/Rudolph introduction in 1899, Ross selling it from 1900. It is moderately common and easy to find, partly since it is now forgotten and a poor seller today. It has been met at serial Nos 8,000-12,000, eg. as a f5.0 305mm lens. It was a highly corrected lens and very desirable except that the 4 separate glasses do lead to a higher flare level. (Ros026). It was noted in lists 1901-2 but this may not be all. f4.5 112, 136mm f5.0 155, 210, 255, 305mm. An f5/305mm was noted at No8,84x on a Watson 10x8 No491x. This will be a Zeiss-Ross serial number. f5.3 375mm f5.6 460mm f6.3 136, 145, 155, 180, 210mm It is suggested to use 155mm for 5x4in. This suggests that in some way the f6.3 was a different product for general use, and sold in a range of its own. It was probably aimed at folding cameras and shutter mounting. The 305mm (12in) is a fairly common version, probably originally made for 1/1plate or 10x8. It was seen at No 11,89x and 8,84x. Fig 013 033 Ross-Zeiss Unars (l)f4.5/136mm No10,748 and (r) f5/305mm No11,897.

In 1900, Ross introduced their prismatic binoculars, which apparently were not a product made under license: perhaps the Patent had expired. These were used in the UK Army 1900-1914 and later, when other makers became involved as well. In fact, they were probably adopted partly as a standard and others required to copy them!

Tessar. This was a very successful new lens from Zeiss/Rudolph in 1902, and was certainly added to the Ross list soon after. It was sold in 1908-1914 in 4 series. Tessar Series 2b f6.3 This was made in 75, 84, 112, 136, 150, 180, 210, 255, 305mm. These were and are the connoisseurs version of a very fine, sharp lens, with less flare than many due to the 6 air-glass surfaces. It was often in shutters as it was a fairly small lens to mount. Tessar Series 1c f4.5 This was made in 75, 112, 135, 150, 165, 180, 210, 250, 300, 370, 400, 500mm. This was a rather later type, about 1907 or 1910. It should be sharp and a fine lens to use, but not quite the image of the f6.3. It became the classic professional Press lens however. One was seen as a 112mm f4.5 at No1428x It is marked Zeiss as well as Ross, and is in a black alloy mount. A useful lens may be No81,96x f4.5/7.1in where the camera on a London Stereo is marked "GPR from RPR 1911" Fig 013 025 Ross Zeiss Tessar f4.5/112mm (4.5in) No14,281. (This may be a 'high number' in the license series.) Tessar Series 1c f3.5 This was made in 50, 75, 210, 250, 300mm, the first two being offered also in focusing mounts, indicating their real use was as movie lenses, where they were a really important product. This was a rather narrower angle of cover design, 35° being quoted. The long lenses were for sharp portraiture, where the angle covered was about that of the Petzval, but the field was much better corrected and flatter. They were also used for Press work in poor light. Note that N&G fitted original Zeiss lenses up to 1911 but then began to fit Ross-Zeiss Tessars in their place. No reason for the change is known. Apo-Tessar Series V111 for 3-colour work.

Ross Tessars may not be too common as only one has been seen in this study. What are seen are lenses engraved 'Tessar Patent' 6in f4.5 Ross Mill Hill at Serial Numbers about 81,61x-82,94x, + 89,522 in a tight group of numbers. These have a long mounting thread suggesting aerial camera lenses and an iris with forward pointing control pins for a deep sunk lens, and the serial numbers suggest they were made in the middle of WW1. The last was still in a brass plate some 2.5x2.5in and 2.5mm thick drilled for screws to retain it- a very substantial mounting indeed.They are thought to be from early aerial cameras, possibly in damaged or obsolete cameras which were withdrawn, and had been lenses made in a wartime shadow factory. (see also Carl Zeiss London section below.) Fig 015 011 Ross Mill Hill Tessars f4.5/6in in various mounts. R. Conyers Nesbit "Eyes of the RAF" p11 cites Ross Pan-Ros cameras for 5x4in with 6in lenses as used in the RFC in c.1913, and these could be the fitment. But note civilian versions of the Pan Ros camera were only offered with Homocentric f6.8, f6.3, f5.6 and f4.5. It may be a 'special' for the RFC but at the time they were not really very interested in aerial photography. There was little difference in price, at £6.5 each. There are other references to the use of 6in Ross lenses in the Navy, etc.

Goerz Ross also made a large number of Double Anastigmat lenses engraved 'Goerz' and these seem to represent a license arrangement with Goerz to parallel that with Zeiss but for just the Series 111 later to be called DAGOR. They are attractive items, often still white and in good order, but are mainly of the older f7.7 series. They are a good way to obtain this design in the UK as the Goerz f7.7 is scarce here, and it was really the later f6.8 which was the first imported in quantity from Goerz. Again the Ross series has different low serial numbers, and these could be intermingled with the Zeiss numbers as far as can be seen. It was listed c.1896- 1902. Series 111 f7.7 Goerz It was made in 3.5-35in (Ros028) in barrel mounts It has been seen at 5in, No456x, 6in No71x, 297x, and No108x It covered about 70° or 80° at smaller stops, and the lenses seen would have originally been used on 1/4 and 1/2plate cameras. Sizes 5.0, 6.0 and 7.0in were also made in focusing mounts. Some are f8.0, such as the early No71x but a 7in was f7.7 at No224x. These were probably made before the DAGOR trade name was applied and really should not be called this. Others were seen at Nos 122x, 1427, 285x. One had been used on a Perken Son and Rayment enlarger. Series 111 f6.8 Goerz One of these was noted at No6,92x, but they are a minority. This was in a light alloy mount. By 1901, the shorter foci were f6.8 up to 12in, then f7.7 in the longer ones. It was made in 4.0, 5.0, 6.0, 7.0, 8.25, 9.5, 10.5, 12, 14, 16.5, 19, 24, 30, 35in. Fig 014 017 Goerz-Patent Ross f6.8/12in No6920 in alloy.

Series 1V f11 Goerz This was a much less common product, sold normally as a process lens. The small aperture made it cover a wide angle and it was also sold for this, up to 75-90°in 1896. It is the ancestor of the wide angle Dagor perhaps but the section seems just like a smaller Series 111 at this stage. No example has been seen, while a number of Series 111 f7.7 lenses have been seen. Series IV was made in 12, 14, 19, 24, 30, 35, 47in. and this does not suggest it was aimed at the wide angle market as the foci are too long.

Production of 'Goerz' lenses seems to have ceased about 1902-1905, and they were replaced by a new lens of the same type of optical layout. This would be compatible with the Goerz patents reaching the end of their lives and Ross being free to make the design without keeping up a license. It is possible that Ross were able to make the change rather before the actual end to give them priority with their new product before the design was open to general copying. This resulted in the Compound Homocentric f6.8 below. A comparison of 240mm Ross and Goerz lenses shows that they can differ, the external curves of the Compound Homocentric being different from a Goerz lens in the examples checked.

Anon The Symmetric Anastigmat f6.5/f8.0 This was a symmetrical anastigmat dating from about 1900, when it was 'new' and it carries no other makers name or patent details. It was made in f6.5 in smaller sizes and f8.0 in larger ones, and in foci 4.0-24in in 1900. Lummer confirms they were not patented so he could not quote the design. In fact an inspection of the reflection pattern suggests they are versions of the layout used in the Kollinear of Voigtlaender and some Orthostigmats of Steinheil-Beck but no business relation seems to have been established. (When the lens is slowly tilted, the two bright reflexions of a torch go one way and the two dim ones go the other. With the Dagor and Orthoprotar there tends to be one stationary dim spot and only one moving one.) These were seen as brass lenses at No60,57x for an f8.0 7.25in lens. (a)Symmetric Anastigmat F8.0 with f7.5 available for 80° coverage. It was claimed that f7.5 was fully usable. It was made in 4.0, 5.0, 5.5, 6.0, 7.5, 9.0, 11, 13, 15, 18, 21, 24in. A 5.5in was noted at No59,02x. Fig 014 015 Ross Symmetric Anastigmat f8/7.25in No60,574.

Symmetric Anastigmat F5.6 for 70°. It was made in 5.0, 5.5, 6.0, 7.5, 9.0, 11, 13in. This seems to be a faster version of the above, made in 5.0-24in. It was seen as a f5.6/12in lens at No57,83x and f5.6/6.0in at No59,00x., f8/6in at No58,71x on a Lizars 1/4plate. These are in brass. Note that these seem to be normal Ross numbers, not ones under a licence scheme. Hand Camera Anastigmats f8.0 These were a more compact version, and especially suitable for shutter mounting though also sold in barrel mounts. They were made in 4.0, 5.0, 5.5, 6.0, 7.5in only. There may be confusion over names here. Symmetric seems to be the Kollinear type, and Symmetrical may be on some of the RR and Goerz type lenses. These are lenses to buy with care if the layout is of interest.

Other items: Lens flanges. Ross seems to have been the first to develop standard flanges for the industry- even if it was fortuitous! He made flanges in 1.5 and 2.0in using a rather fine 28TPI(?) thread, perhaps due to the labour of cutting a deeper one and the increased weight of brass needed. But there was poor standardization, at least among others in the industry, and the RPS and other users decided a better standardized 24TPI thread in accurate inch sizes would be preferred. This was in the 1890's and is discussed under threads, The result was that by 1905, Ross were selling these in 16 Numbers and Sizes as follows: No 0, Size 1.625in; 1, 1.5in; 2, 1.75in; 3, 2.0in; 4, 2.25in; 5, 2.5in; 6, 2.75in; 7, 3.0in; 8, 3.25in; 9, 3.5in; 10, 3.75in, 11, 4.0in; 12, 4.25in, 13, 4.5in; 14, 4.0in; 15, 5.0in; 16, 5.5in. There were few 1/8in gaps or dimensions at that time. These seem to have come later to obtain more handy lenses for fitting to some cameras, and can now be a real problem in matching lenses to flanges for this maker. Adaptors were from any smaller to any larger size. Leather Cap sizes were: 1.625, 1.75, 2.125, 2.45, 2.8, 3.0, 3.375, 3.55, 3.875, 4.375, 4.875, 5.0, 5.625, 6.125, 7.0, 7.5in approx.

New Products The designers working for Ross now are noted to include Hasselkus and Richmond. Homocentric from 1902. Ross seem to have begun to introduce proprietary anastigmats from 1900. The Aplanatic f5.6 seems to have been the first, made to a 4-glass Gauss design , and 'improved' in 1901 and 1902, and then replaced or renamed the Homocentric in 1902. There is a Brit. Pat No20,349/1900 which may cover this. The name Homocentric however covers a number of different lenses. In 1905, the B.J.A. p917 reviews the lenses as 3 series at f8.0, f6.3 and f5.6, and comments that it will not stop below f16. Test results showed longitudinal errors at 0.5% of focal length for the f8.0; 2% for the f6.3 and 4% for the f5.6. (This is a very unusual type of comment at that time. It may explain why the f6.3 was the longest lived, being still made into the late 1940's or 1950's.) The designer was Richmond and the f4.5 was issued later in 1912 (B.J.A. 1912,p712, p1914) again with a 4-glass layout, as was the f5.6 and f6.3 (Photography 13/07/1909). The inner glasses were rather thick and this may have helped the design. It is a lens best liked in the slower versions, and covers a good angle, but is rather prone to flare in uncoated examples. All these seem to be 4-glass Gauss types, the f8.0 being the choice for hand cameras with blade shutters. For a note see Photography, 13/07/1909. Homocentric has the advantage of covering a good angle and of being free from focus shift on stopping down, and was regarded as well corrected. All the Gauss type lenses were separable.

There is at least one other type- the Compound Homocentric.This is a version using the Dagor type layout (see above). It now seems odd that so many series were sold: but actually one was a renaming of the Dagor type at f6.8; or some may be for shutter mounting as the f6.3 seems to be. Fig 014 012 Ross Compound Homocentric f6.8/9.5in No129,831. (This is not under Goerz license.)

Homocentric f4.5 It was made in 4.5-18in, with stops to f22. Use 6.125in for 5x4. It seems to be 'new' in B.J.A. 1912, p712, and was separable, the front and rear giving 2x and 1.5x the focal length. (Layout Ros030). It was also coded 'E.R.' (E.R =Extra Rapid?) Homocentric on the Panros and TLR cameras (B.J.A. 1914, p60). It seems to be the short lived version. Cine Homocentric f3.1 2.0, 3.0in focus for movie use, in focusing mount. The narrow angle covered will have helped the design here. Cine Homocentric f4.8 3.0in as above. Homocentric f5.6 It was made in 3.0-24in, especially 12in for 10x8 or up to 12x10in, 15in for 12x10 or up to 15x12in, 18in for 13x11 or up to 18x16in, 21in for 15x12 or up to 22x18in, 24in for 18x16in or up to 25x22in, where the second size is for medium stops only. (Layout Ros031) It was also coded as Series 11 or B, and was partly replaced by the f4.5, but continued well into the 1930's. It was listed on the Williamson Automatic Enlarger as f5.6/8.5in for up to 9.5in wide film or 1/1plate.

Homocentric f6.3 It was made in 2.75, 3.5, 4.0, 5.0, 6.0, 7.0, 8.5, 10, 12in. and was available in shutters such as Koilos and Compur. A 6 or 5in lens was suggested for 5x4. The drawing shows a lens with thicker inner glasses and this may have helped the corrections, and been easier to use on the slower design. (Ros032). In use it was a sharp lens, but seemed to have a high flare level. It was found as a f6.3/6.5in No69280 in a Compound shutter No371,939. It was seen at No128,36x in Rimset Compur No712,95x of c.1925-6 which had been fitted to a c.1936 Linhof Technika II; and No108,86x in dialset Compur, and as a coated barrel mount lens at No223,64x from the later 1940's. This was also referred to as Series 111. Incidentally this shows it was fairly common. It was a popular lens as it covered a wider angle (see 1939 list for coverage) and was continued for a long time, being coated postwar. It was also sold in blade shutters such as the Compound and later the Compur during the 1930's so a Linhof user could buy a shuttered Homocentric but not we think a similar Xpres. Adding in that a 5in would cover 5x4in or more when stopped down, it was probably a better choice though the flare level was higher due to the extra air-glass surface. Certainly the lens used on the 9x12cm Linhof ST2 gave a sharp image but was high in flare even though it seemed to be in very nice order. A coated one would be much preferable for use. The B.J.A. 1928, p8advert. gives: 5in for 4.25x3.25 at f6.3 5x4 at medium stops. 5.5in for 4.75x3.5in 6x5in 6in for 5x4in 6.5x4.75in 6.5in for 5.5x3.5in 7x5in 7in for 6.5x4.75in 8.5x6.5in 8.5in for 7.5x5in 8.5x6.5in 10in for 8.5x6.5in 10x8in 12in for 10x8in 12x10in 15in for 12x10in 15x12in While the full aperture coverage is interesting, the original customer probably was interested in using camera movements and as a professional, would probably stop down so the last column for use at say f11 was probably the important one and shows it to be a good lens for most technical and architectural uses.

Fig 014 018 Ross Homocentric f6.3/10in No223,649 coated; and 'Homo' f6.3/8.25in No74,214 ctd in unusual finish.

Homocentric f6.8 H&D lists this speed in 4g Gauss in 4-12in, as well as the f6.3 and the Compound Homocentric. It was still listed on the Adams Vesta in B.J.A. 1927, p105advert. and the Sinclair Una in B.J.A. 1934, p465 in 6x9cm, 1/4plate, 5x4in, 10x15cm and 7x5in, and must have still been available in a range of sizes. But this 1934 one seems to be the last advert. noted with it and it just may have been old stock.

Compound Homocentric f6.8 It was made in 2.75, 3.5, 4.25, 5.0, 5.5, 6.0, 7.0, 8.5, 10, 12, 14in. and a 8.5in covered 10x8in. It was introduced between 1905-1910, and was seen in brass mount at No129,83x, probably from the 1920's. It is related to the Dagor, but the curves are not identical in lenses of the same specification and similar date. It was described as especially suitable for architecture and should be lower in flare than the Gauss types. The layout Ros029 seems slightly flatter than the original and the claimed angle of cover may be rather less. These were coded as Series 1V in some adverts. The Compound was used as a pair of 5in f6.8 No7072x (2x) on a Marion Stereo 3.5x5.5in NoM215x.

Homocentric f8.0 There do seem to be some of these made to the old Goerz layout, rather as f7.7 Dagors. They were described as Series D or V and made in5.0-24in with 6.0in suggested for 5x4in.

Homocentric f8.0 Series V1 This was made in 7 or 12-24in, with stops to f64, and was essentially a process lens. Use 12in for 10x8in. It may have been developed as a general purpose lens, and in a later list the single cells were usable separately. This makes one wonder if it was a Dagor Q9 or a Gauss, but none has been seen to study. It was still available in 1935, (B.J.A. p6advert.) and was in larger sizes as if intended for 1/2plate stand cameras. Coverage at f8 and stopped down was as follows: 7in 6.5x4.75in at f8 8.5x6.5in stopped down, 1/2plate at f8. 8.5in 7.5x5in 10x8in 10in 8.5x6.5in 12x10in 12in 10x8in 15x12in 15in 12x10in 18x16in 18in 13x11in 22x18in 21in 15x12in 25x22in 24in 18x16in 30x24in

Homo This may be just an abbreviation. An f6.3 Homo was listed on a Xit and there is a suggestion that it was sold as components, with like components giving an f5.5 lens and unlike an f6.3, and singles being usable at f11. It may have been a 1930's development but a 'Cine Homo' was listed in 1914 for projection. It seems to be a 4-glass Gauss, and was made in 3.0, 4.0, 5.0in. Finally a coated f6.3 8.5in HOMO No74,21x was seen and seems to be a camera lens in a barrel mount with a chrome iris scale to f64 which looks to be late 1940's rather than 1914! The exact focal length is engraved as 216mm.

Ross Convertible This was the replacement for the Protar V11a and was the subject of a Ross patent (Brit. Pat. 29,636, 29,639 of 1913-4). Some convertibles still carry the Zeiss name. It has a similar layout to the V11. The announcement was in (?Amateur Photographer?) 16/06/1913, p574 with the Telecentric when a 7in f7.0 lens convertible to 11.5 and 14in was seen. It is said to be a Hasselkus design and it was made in 1914 in the following sizes:

(1) Single Lenses f12.5 which were made in 7.25-39in (or 7-36in in another list) and 14in was used on 10x8in. In 1912 the range was 7-21in.

(2) Doublets f6.3 which were made in 4.125-23.5in and 12-13in was suggested for 10x8in. In 1912 the range was 4-11in. The maximum aperture varied if the cells were different, from the f6.3 to f7.0 or f8.0. Thus one option for 10x8 was a f8.0 pair of 12.75in, with cells of 27.5 and 19.25in if used separately. The product range may still have been complicated by the old Symmetric Anastigmat as one list has lenses of f5.5 aperture, and certainly the range after 1920 was based on the Ross Combinable f5.5 sold in the same way as single cells at f11 and doubles at f5.5-f6.3. The design of these is not illustrated. A Convertible with 9in No939x and 14in No903x was noted on a Sanderson camera: these do seem to be anomalous serial numbers. One point may be some confusion between Convert- and Combin-able, especially due to the variations in maximum aperture. It is the Convertible f6.3 max listed in the 1914 advert. and by the 1916 advert. it has been replaced by the Combinable f5.5. The feeling is that the general type of lens was the same and they had increased the aperture. But Combinable was made in 7-21in cells rather than the 7.25-38in of the Convertible and was listed initially in sizes for up to 9x7in only. It was sold as sets of 3 cells for 1/1plate and for: 4.25x3.25in with 8in, 9.5in, 10.25in cells to give 5.25in, 5.5in, 5.75in pairs: or with 4 cells in the set for: 6.5x4.75in with 10.25, 11.25, 12.5in, 14.5in cells to give 6.25, 6.5, 6.75, 7.0, 7.25, 7.75in pairs. Fig 015 025 Ross Convertible 2x23.5in =13.25in with interchangable iris scales to suit.

Fig 015 027 Ross Convertible dismantled to change scales, etc.

Combinable f5.5 This was a convertible symmetrical lens, possibly Kollinear type. It was made in 4-21in. It was f5.5 when the cells were the same focus and from f5.7 to f6.3 when different cells were paired, in a list of about 1932. (This certainly complicates any list!) The example seen was an f5.9 giving 5.5in, or f11 and 8.0 and 9.5in as separate cells. The lower speed will relate to the unequal foci present. It seemed to be a 4+4 glass lens, roughly Q12. These are not easy to find and are fine lenses. Looking though auction lists, they are usually on nice cameras, such as Adams and Sinclair, and probably sold to a leisured well-off clientele. Here sales went on through the 1920's (eg B.J.A. 1928, p104advert.) as: 4 +7in for 6.5x9cm; (this may be 4in from 2x7in cells as below). 5.5 +9.5in for 4.25x3.25in (1/4plate; (this may be 5.5in from 2x 9.5in cells as below) and 6.5 + 10.25in for 5.5x3.5in. (This may be 6.0in from 2x10.25in cells for f5.5 as below.)

The 1932 list begins with single components at f11: 7in for 5x4in; 8in for 6.5x4.75in; 9.5in for 7.5x5in; 10.25in for 8x5in; 11.25in for 8.5x6.5in; 12.5in for 9x7in; 14.5in for 10x8in, 17in; 21in; 28in; 36in; and these were listed with covering power at f11. This suggests they covered a little less than the pairs. Some 26 pairs were offered from 7 + 7in for 4in for 6x9cm at f5.5, to 36 + 36in for 21in for 13x12in at f5.5, as well as sets for 1/4plate, 1/2plate and 1/1plate but these were supplied on request. Some useful pairs today might be those for 5x4in: 10.25 + 9.5in to give 5.75in at f5.7 11.25in + 9.5in to give 6in at f5.9 10.25 + 10.25in to give 6in at f5.5 and for 10x8in: 28in + 21in to give 14in at f6.3 28in + 28in to give 16.5in at f5.5

They were noted at 8in No 88,55x, 88,56x, 106,86x, 9.5in No94,22x, 11.25in at No86,53x, No103,34x and a pair a No108,461. They were often quoted as f11- the speed of a cell used alone. They seem to be post-WW1. The 1924 advert. shows No75,4xx(?), which fits as the early end of the above numbers. Incidentally, there is a 2-tab bayonet used for the front cells on some N+G shutters which can be worth using even today and it is standard between different units. A separable lens of larger aperture was described in B.Pat. No 29,636 of 1913 by J. Stuart and J. W. Hasselkus and this may be the basis of the faster Combinable. It was regularly advertizes into the 1920's (B.J.A. 1925, p6) but was probably available well after this. Thus Combinable was still apparently available late pre-WW2, as on the Sinclair Traveller Una in B.J.A. 1937, p449 and in wartime adverts. from Kodak (ANZ) and probably was the sort of specialized product given little advertising but available if asked for, as the f16 wide angle was.

A list for 1925 (B.J.A. p6advert.) was as follows: Single Components working at f11 were supplied as: 7in for 5x4in; 8in for 6.5x4.75in; 9.5in for 7.5x5in; 10.25in for 8x5in; 11.25in for 8.5x6.5in; 12.5in for 9x7in; 14.5in for 10x8in; 17in for 12x10in; 21in for 13x11in; 28in for 15x12in; 36in for 20x16in. Pairs were sold in f5.5, f5.7, f5.9, f6.0, f6.2, f6.3, f6.4 and ? other maximum apertures as cells of different foci were combined and 22 examples were offered and others are known. Suffice it to quote those for 5x4in as the most likely to be used today. Front lens Rear lens Pair max aperture covers 10.25in 9.5in 5.75in f5.7 5x4in 11.25in 9.5in 6in f5.9 5x4in 10.25in 10.25in 6in f5.5 5x4in This shows the fastest to be the symmetrical pair, but here only two foci were available, so really the slower unsymmetrical would be better. The cells in the Table are never very widely different in focus but one does list as 17in front, 12.5in rear, for an 8.5in pair at f6.3 and this would make an interesting set for 8x5in and if a 10.25in cells was added, it would give pairs at 6.5in, and 8.5in, as well as 10.25, 12.5 and 17in from the single cells. (The 17 + 10.25in is not quoted as a pair but should be usable also.)

Cinematograph Lenses. In 1910, Ross offered a f4.8/3in movie lens to cover 4.25in, and this was a Homocentric which would also be usable on a 6x9cm camera. (B.J.A. 1910) There is a hint that the f3.5 Ross-Zeiss Tessar was also used. The 1916 BJA mentions a series of movie lenses at f3.5 and f4.5, and a series of f3.0 projection lenses. The Sinclair N.S. Standard movie camera was advertised as being used by Mr H.G.Ponting on Scott's antarctic expedition, in ?1910 and much later on the Everest Expedition by Capt J. Noel in ? the 1920's and a picture shows it in use with a ?17in Ross or ?Dallmeyer lens fitted with braces to improve rigidity. (The engraving suggests Dallmeyer but only a 17in TeleRos at £30 is actually listed. Both probably probable might be had by choice.) It is noted that while most TeleRos lenses were f5.5, the longest in 13 and 17in were also offered in f6.3 at a lower price- it is not now obvious if these had the same extension or were higher magnification lenses. Telephoto Lenses Accessory Type. The first items were accessory lenses in 6 strengths. A Ross Telephoto attachment with a Homocentric (especially f6.3) was shown in B.J.A. 1910, using a 7in Homocentric and 3 and 2.25in negatives, among others, the range being -1.125 to -5in.

The Do-Do was a tele negative lens, associated with Capt. Owen Wheeler, of Weybridge, and may occur in several forms. Thus it was noted as for 4-13 magnifications,with a double rear glass and variable extension, rack focusing and to use the customers own front lens. But an example seen was NoIc and not variable:it was for fixed magnification with a f5.6/5in Homocentric No73,095 of about 1914. There was some sign that a second rear element could be fitted as well but was now missing. It was scaled f34.5-f90.

Fig 017 032 Ross 'The Do-Do' tele accessory. Capt Owen Wheeler with Homocentric f5.6/5in No73,095. This was probably available after WW1 but was discontinued by the list seen from about 1932.

Fixed Separation Types Telecentric Fixed separation telephoto lenses seem to have begun with the Telecentric. The layout used 5-glasses (Ros033) and it was made in two magnifications and apertures, as well as in shutters and focusing mounts. (Am. Photo. 18/03/1912; 16/06/1913). Eder and Frerk both relate the design to Bielicke's work or say he designed it. When it was first sold (1912), it was the fastest tele available, and so costly in Germany that no one could afford it. Telecentric was the lens suggested in B.J.P. 25/06/1920, cited 27/06/1980 p622). It continued after WW1 in 1921 and 1922 (B.J.A. 1922, p9) and then was replaced by the Teleros.

Telecentric f5.4 It was made in 9.0in for 3.5x2.5in, 11in for 4.25x3.25in, 12in for 5x4in, 13in for 5.5x3.5in, 17in for 6.5x4.75in. This was seen as a 13in f5.4 at No98,10x in a barrel mount. Telecentric f6.8 It was made in 9.0in for 3.5x2.5in, 11in for 4.25x3.25in, 12in for 5x4in, 13in for 5.5x3.5in, and 17in for 6.5x4.75in. use 12in for 5x4. It was sold by 1912 (Amateur Photo. 16/06/1913, p574) and was as f5.4 and f6.8 in 1913. The adverts. in B.J.A. 1914, 1921 and 1922 give the same formats and back focus for both Telecentrics. Thus the f6.8 becomes merely a cheap version of the f5.4 as the 12in costs £18 in f5.4 and £13.2 in f6.8. [This seems an anomaly as some reports say that the f6.8 was a 3x magnification lens- hence the slower aperture. The problem may come from the replacement which was a 3x Teleros.] It probably was made for longer as the 3x Teleros came only in 1926, and there was a "Special Offer" of Telecentrics in B.J.A. 1927, p615 in 9in for 3.5x2.5in and 11in for 1/4plate. Examples noted were: f5.4/13in, as a bulky lens, No98,101, for ?2.5in thread and ?5x4in. f6.8/11in, No74,22x, with stops to f32. The smaller looks a very attractive item, in glossy black paint.

Fig 015 004 Ross Telecentrics (l) f5.4/13in No 96,101 and (r) f6.8/11in No74,223.

Teleros This was a postwar introduction about 1922.

Other lense s. Ross continued to supply wide angle rectilinears up to about 1914, as well as: Portrait lens probably of Petzval design: but the line was essentially a more modern one than many other makers. Cabinet and Portrait lenses These were made in 8.25, 10, 12, 16in and longer to order and seem to be just one product range. They were adjustable softness by unscrewing the rear cell. They were probably Petzval type. "Anastigmat" In the B.J.A. 1916, p432, there is an account of a patent by J. Stuart and J. W. Hasselkus B.P29,637, B.J. 27/11/1914 p874, of a new large aperture anastigmat with1+1+i+3 layout the latter 3 glasses being of low medium and high refraction in that order. This was probably the initial Xpres 5-glass lens and must be related to the next item.

World War 1 A comparison of the adverts. in the 1914 and 1916 B.J.A. volumes suggests that the main difference was the replacment of the Tessar by the Xpres, in keeping with the feeling of the time. Xpres was the first item in the advert. and was described as 'perfectly new', and was accompanied by the new Combinable, Homocentric f5.6, f6.3, f6.8 and f8.0 as well as a Process Homocentric, also at f8. Thus the f4.5 Xpres had replaced the f4.5 Homocentric as well as the Tessar. Other lenses continued were the f16 Wide Angle, and the f16 Symmetrical (RR type) as well as the Telecentric in f5.4 and f6.8, cine Xpres lenses in f3.5 (2in, 3in), and f4.5 (?4.75, 5.5, 6in). And the Xpres was applied to the cameras listed: the PanRos now had a 6in f4.5 Xpres on the 5x4in version, which may agree with the RFC cameras. By 1915 (for 1916) some firms were deleting their adverts. and Beck for example overprinted theirs with "Our factory is ....entirely occupied with Munitions.." Ross would be in like case, and mainly selling off ready made stock. Initial sales to the Flying Corps were of 8.25 and 10in f4.5 lenses of Q15 type, referred to as Xpres lenses postwar. Hasbroeck illustrates a Type A camera modified to Type C with a f4.5/10.25in Xpres probably from 1915. However over the narrow angle of 36° a better AIRO design was possible and these were produced in large numbers ('Thousands') with a reduction in the astigmatic aberrations from 0.5 to 0.25mm in the intermediate part of the plate. Later an f6.0 AIRO of dialyt design came in owing to glass supply problems, made using light flint and DBC only (Hasselkus, Photo J. 4/1919, p121), and Ross made a 10in f4.5 AIRO in barrel but without iris at No82,49x. (This seems to be a Q14 or Q15 type lens and is ex-WD and marked "Low Temp. Laboratory"). A 10in f4.5 No143,61x was a feature on an impressive T-P Aero camera type A to C conversion at auction, and this was certainly a very early WW1 unit and seems little used though possible a later lens could be fitted. A near contemporary account gives the structure Ros 036 for the AIRO lens. Incidentally the true AIRO has a serial number just above the Mill Hill lenses as if it was from the same series.

Fig 014 029 Ross Airo f4.5/10in No82,499 with no iris.

This may only be part of the story, as a moderately common lens is the "Mill Hill Tessar Patent". These have been noted in sunk mount with a distinctive iris with two forward pointing control pins, at No81,61x (2 examples) with a short 3 turn mounting thread, and with a long (11mm) mounting thread at No 82,65x, 82,85x (W^D, 82,94x, 82,94x again, and 83,01x. The difference in the thread length relates to the flange which is flat in the later ones, but gives 13mm protrusion as an small extension tube in the two early ones, and one of these only carries an engraved number No15,66x on the iris control ring. (The latter might be an Army part number or possibly camera number. It also may be a indication of the actual focal length, as 15,66x could be 15.66cm or 6.17in. This would be useful in a survey lens.) These are a Q15 type layout, though the reflexion in the rear is very faint- possibly due to a low r.i. difference. They are thought to be WW1 aerial lenses for low level work, probably made in a shadow factory in 1915-1916 for the PanRos camera before the more developed products were available. (A 6in lens was used on the 5x4in LB camera eg. in 1918, and it is a possible fitment: there was also the WA version of the LB for 8.5x6.5in but the Xpres would not cover this angle.) A conjecture is that this might be the Bittacy Hill establishment- see Carl Zeiss, London. Squ. Ldr. F.C.V. Laws, lists the WW1 aero lenses as: Wide Angle type, for 1/1plate, 8.0 or 10.0in B-type camera, with 20-47in lenses, for oblique work. P-type metal camera, with 10in lenses. A later lens is Ross Xpres f4.5/10in (254mm) at No14,361x which was auctioned on an aerial camera No192 made by Thornton-Pickard, and this may be from the 1920's. (F.C.V.Laws, in "Photography as a Scientific Implement", Blackie, London, 1924.) See also Pan-Ros camera. General: Ross Aero, Ross Express (sic!), and Cooke Aviar in 4.0, 6.0, 8.0, 10.0, 14.0, 20in, normally of f4.5 max. aperture. The war began with a few Press cameras, and the first purpose built type was the A-type with 8in lens, followed by the B-type (lens not specified) and then the LB camera, with interchangable cones to allow lenses to be exchanged, using 4, 6, 8, 10.5, and 20in lenses on 5x4. (There is a reference in the B.J.P. to a Munro P- type camera with 8.5 and 10.5in lenses- they did make plate coating machines.(B.J.P. 18/05/1979; 27/04/1979, p394) Later a BM type camera with 18x24cm plates was used. No real use of film was made and while it was tried, plates in auto changers were normal. (One point seems to be that the usual idea that the AVIAR predominated is not supported.) Note that we think Laws went on to help manage the Williamson aerial camera company between the wars as well as continue his involvement with RAF developments. The B.J.P. 02/05/1919 states that photographic personnel were 250 officers and 3,000 other ranks by the end of 1918, with equipment to match. This was a problem for the labour market to absorb postwar.

In the B.J.P. 12/04/1918 there was a note that Ross had purchased the business of Carl Zeiss at 13/14 Great Castle St., W1, London and were now conducting their own retail business there.

The Ross company had been under the Chairmanship of Mr John Stuart c1837-28/04/1926) for many years. He joined Ross in 1870, under Mr Thomas Ross (son of Andrew Ross, founder) who died and later Mr Stuart married the widow. He spent much of the rest of his life working to develop the firm, especially during WW1 when the works were rebuilt under Government control, and he was awarded a C.B.E. for his efforts. Mr Stuart was also the Proprietor of the "British Journal of Photography" until his death. Another death was of Mr H.G.Heyburn in 1924 (?), who had spent 51years with Mssrs Ross. (B.J.A. 1925, p232).

After WW1 WW1 caused real hardship and shortages in the UK and other places, as well as the suffering due to loss of life. Initially there was an embargo on purchase of German cameras as "trading with the enemy" (B.J.P. 18/04/1919 cited in idem, 20/04/1979 p384) and Lt Col Moore-Brabazon raised the question in the house for a reply by Mr Churchill, asking that returning troops be searched and cameras removed. And only in 1922, Ross says then they 'now have full stocks' as if they have had to refuse or delay orders till then, (which seems the case in 1921) and 'the quality of the workmanship has considerably improved since the termination of the War' as if there had been problems. The early postwar programme was Xpres f4.5, Combinable f5.5, Telecentric f5.4 and f6.3, Homocentric f6.3 and f6.8, projector lenses and Movie lenses in Xpres f4.5 4.75, 5.5 and 6in and f3.5 2in and 3in. One point is that adverts. after WW1 no longer show the layout of the lenses so there are more uncertainties about them.

Teleros Telecentric was replaced by the TeleRos in about 1923 and this was designed by Richmond (Brit. Pat. 188,621 of 1922, B.J. 16/02/1923; B.J.A. 1924, pp4advert., 279) possibly with work by Hasselkus as well (Layout Ros034). Initially this was only in 2x mags. and f5.5 aperture in 1924, but was later issued also as a 3x tele at f6.3.(B.J.A. 1926, p339). The change from Telecentric to Teleros may have been partly to use new glass in a better corrected lens but the new lens had the triplet at the rear, made as a positive surrounded by 2 negatives, and this made it lighter, smaller, easier to fit to cameras and shutters, and also probably saved on the cost of the glass, which was smaller in diameter in the rear cell. (Teleros was 'new' when noted in the Amateur Photo. 15/11/1922 p3.) The rear cell could be supplied threaded to fit in a leaf shutter, in place of the usual lens, or supplied in a shutter. The front was DBC positive and dense flint as the negative; the rear the same DBC for the outers, with a new glass in the centre of low refraction and high dispersion. The foci are 112.7mm and -102.8mm for a 280mm f5.5 lens.

TeleRos f5.5 (1924 list) 9.0, 11, 12, 13, 17in. "Two Power" Later (1928) it was in 6.25-40in/f8 in 1940, 9-22in in 1935. There were also some small versions for cine and a 4in "Tilica" for Leica.(B.J.A. 1932, p297) Teleros seems to be 'new' in Am. Photo. 15/11/1922 p434 as a 9in f5.5. It was noted to be free from pincushion distortion. Incidentally there seem to be two versions with the same back focus and speed in the 17in Teleros lenses. It is likely the usual large format type has a 48.5mm dia rear glass, seen at No197,889; but another at No112,658 while otherwise identical, had a smaller rear glass at 41mm dia., and just may have been for movie or a smaller still format.

A B.J.A. 1928, p7advert. gives: 6.25in for 2.3x1.75in 9in for 3.5x2.5in 11in for 4.25x3.25in 12in for 5x4in 13in for 5.5x3.5in 17in for 6.5x4.75in Fig 015 001 Ross Teleros f5.5/17in lenses (r) Nos 197,889 (big rear glass) and (l) No112,658 (small). 22in for 8.5x6.5in 40in f8 for 8.5x6.5in. Of these, 6.5in in size 00, 9in in size 0s, 11in in size 1s,12in in size 1s,13in in size 2 4/1 and 17in in size 3 6/1 might be had in Compur, or earlier in Lukos or Acme shutters, or in focusing mounts. It is noticed that the big 40in was in f8 max. aperture. In c.1932, they offered 4in, 6.25in, 9in, 11in, 12in and 13in in focusing mounts. The 4in was probably for movie but also sold for Leica. Teleros was used for movie work- a f5.5/240mm No108,55x was on an Eclair 35mm from the 1928-1937 period. Teleros 4in f5.5 for Leica. This was a 1930's item in M39 normally, and in a collapsible mount, with E42 or E39mm filter sizes, at Serial No's 127,86x-128,02x at least. (B.J.A. 1932, p297).

Fig 012 014 Ross lenses in M39 (r, rear) Teleros f5.5/4in (2x) in E36 and E42, with Xtralux (l)f3.5/9cm No198,71x; (rear) f4.5/135mm No235,40x; (front) f2/5cm No199,19x collapsible, also a rigid lenshead, of the f2/50mm.

TeleRos f6.3 initially 13, 17in, later in 9.0, 13, 17, 25in.(B.J.A. 1926, p339) This was a three times tele, but slower. The 13in was needed to cover 3.5x2.5in and would also 1/4plate though the corners would not then be fully sharp. It is a fairly big lens and the 13in has a register of about 5.5in at infinity so it could be fitted to many cameras. It was listed in Compur or Compound shutters in all sizes. Some special teles existed such as a f8.0 40in version for a Ross Sport camera using a 2x version for 1/2plate coverage. An f6.3/25in was used on the Duoflex camera (B.J.A. 1932, p310), and a f6.3/17in was mounted with struts on a NewmanSinclair movie camera.(B.J.A. 1933, p301). 9in for 2.5x1.75in 13in for 3.5x2.5in 17in for 4.25x3.25in 25in for 6.5x4.75in Teleros f8.0 There were also f8.0 40in and later? in 50in and 60in Teleros lenses in a batch of Gandolfi Cricket Cameras. It is likely these were developed for aerial use (where they would be excellent!) and were a small batch made post-1945 for civilian use- thus there may have been MoD examples as well but these have not been seen.

XPRES After WW1, the Q15 type design was given a new name, the Xpres but this trade name was also used for lenses of other layouts and it is easy to be confused about the structure involved. The 5g/3c design does not seem to predominate however. One point is clear- if it was made in WW1 it is likely to have Tessar Patent, AIRO or no name engraved on it though Laws refers to some as Xpress. And a writer in MCM July 1953 describes a TLR fitted with an Xpres f4.5 4.75in lens as supplied 40 years ago, which agrees with the B.J.A. advert. in 1916, but due to the War, few may have been produced for general sale. Manthos dates one of his N&G cameras with Ross Xpres as 1914, at No 76,015, but this does not quite agree with a 1911 date for No81,967 above. It may just be best to note that N&G were fitting Xpres lenses from Lens No76,000 and that the data suggest 1918 cameras have lens Nos about 86,000. He notes a rather steady production up to about No141,507 in 1940- which should be a late end for uncoated civilian lenses. In 1925, only the f4.5 was advertised in the B.J.A. p6 advert. The different types of Xpres made seem to be:

Xpres f8.0 136mm This version is shown by Hasbroeck on a Williamson Pistol Aircraft camera from about 1930 and may be a slower and therefore lighter version for handheld use in the air at £19.5 without focusing. (B.J.A. 1931, p663) It was also sold for ground use at £25, with a focusing movement to the lens and the review on p284 refers to it as having a f4.5/5in lens- an alternative no doubt. It has been noted at auction with Ross f4.5/135mm No130,62x and 133,40x lenses.

Xpres f6.3 Aerial E.M.I. (Extra marginal illumination.) This was a bulky aerial 5-glass 1+1+i+3 type, normally made in 20in, and probably 1930's in concept. The front glass is relatively big to even up illumination.These do not seem to be coated. Note there was also a Wide Angle Plasmat type of this specification but 6-glass design and this is often coated and a very excellent lens.

Xpres f4.5 This was typically made in 3.0, 4.75, 5.5, 6.0, 6.5, 7.0, 7.25, 8.5, 10, 12, 16.5, 21in.in the 1920's. Q15 design. It was the major product from the Xpres series and is quite easy to find today. The 6in was suggested for 5x4 and the 3.0, 4.75, 5.5 6.0, 6.5, and 7.0in were in helical focusing mounts if required. Coverages were: 75mm 2.3x1.75in, 90mm 3.25x2.25in, 105mm 6x9cm? 112mm 3.5x2.5in 120mm 3.5x2.5in 127mm 4x3in 136mm 4.25x3.25in 1/4plate 140mm same 152mm 5x4in 165mm 5.5x3.5in 184mm 6.5x4.75in 215mm 7x5in 254mm 8x5in 305mm 8.5x6.5in 360mm absent in 1928 list. 420mm 10x8in 533mm 12x10in

A Butcher's Cine camera (B.J.A. 1924, p54) was offered with f4.5/4in, also with 2in and 3in f3.5 lenses. The f4.5 Xpres was similar to the Tessar previously produced but seems not to be identical to it, the external curves being different in ratio. Thus it must rank with the many me-too lenses then introduced. They were a quality item, covered a good angle, were popular with professionals and are still fully usable today. The f4.5 were continued post-WW2 in coated form and these were very slightly changed, the rear curves being flatter. Again, a good lens made better. The examples seen were No88,71x (8.5in) and 136,88x a 12in in brass finish. This was a popular lens in various fittings. [For a rather disparaging opinion expressed in Germany by R.S.Clay in 1923, see Eder "Xpress is a poor Zeiss Tessar." but note he cannot even spell it correctly. This will be the old lens.]

Fig 014 027 Ross Xpres f4.5/8.25in ctd. in (l) barrel at No207,260; (m) sunk; (r) sunk iris mount at No202,292. Centre lens is prewar at No89,710 and differs slightly in curves.

It seems always to be in a barrel mount, as none seen are in shutters. ["They do not admit of between lens shutters." in the 1931 advert.] This must have limited sales to studio and focal plane camera users, so that postwar a camera such as the MPP needed the f4.5 wide Angle Xpres in its Epsilon. But this was only a 5in lens and rather 'short' for 5x4in users and Ross must have lost sales through not having a f4.5/150mm on the shelf to sell. There does seem to have been a scarce f4.8 or f4.9 5.5in Xpres but it has never been seen. (B.J.A. 1952, p217, Dawe camera with f4.9) Nor could the customer look at the f6.3 Homocentric or the Process lens as shuttered options from the advert. in the B.J.A. 1952, p70. This was a pity, since the Ross lenses had hard coating and could give fine image quality. It may be that supplies of Compur 1 were still limited.

Xpres f3.8 105mm This was a late version (1950's and on?) and was the lens on the Selfix 820 cameras postwar. It is a high quality Q15 lens, always coated but in Epsilon shutters which can give problems. The serial numbers can be anomalous here, as shown by the following No. 242,06x, 262,81x, 5,047, 10,28x, and where it could be checked, the later body number was on the low number lens. Fig 015 014 Ross f3.8/105mm Xpres on Selfix for 6x9cm.

Xpres f3.5 It was made in 1.5, 2.0, 3.0, 3.5, 4.0, 4.375, 5.375, 6.0, 6.5, 7.25, 10in., use 6.5in for 5x4. This was an advanced product for the date. (a) A movie version was available in 1921 but in general the f3.5 came later. It may well be that the movie version was a 4-glass Q15 design and the 5-glass was needed for the general use of the aperture. The movie version was noted as an f3.5/2in lens on 'Darling' movie cameras in B.J.A. 1921, p607. (b) Anyway, the f3.5 was noted as 'new' in B.J.A. 1926, p304 when 7 foci were announced for 4in for VP up to 10in for 1/2plate, and was used on the Newman-Sinclair auto-cine in 1927 as1.5 or 2in Xpres lenses. In B.J.A. 1927, p341 they confirm the bright definition and absence of flare and say it covers nearly as big an angle as the f4.5. The shorter foci were for movie use. It was probably Q15 but H&D is definite that 5-glass examples existed (roughly Ros036). It was listed in 4in on the Bijou 6x4.5cm and 6x9 and up to 10x15 cm on Standard reflexes. An example auctioned was No10792x on a van Neck SLR camera rather like a Korelle. 1.5in 38mm 1x0.75in movie 2in 50mm 1x0.75in movie 3in 75mm 1.25x1in 3.5in 90mm 2.5x1.75in 4.0 100mm 2.5x1.75in 4.375in 112mm 3.5x2.5in 5.375in 136mm 4.25x3.25in (1/4pl) 6in 152mm 4.25x3.25in (1/4pl) 6.5in 165mm 4.25x3.25in 7.25in 165mm 5x4in 10in 254mm 6.5x4.75mm

Xpres f2.9 This was made in 1.0, 2.0, 2.5, 3.0, 5.375, 6.5, 8.5, 10in where 6.5in was used for 5x4. (Ros036). It was noticed in the B.J.A. 1927, p14advert; 1928, p336, as the latest in the Xpres series and a supplement to the previous years f3.5 Xpres. The Almanac speaks of very high correction, brilliant image, critical all-over definitionand absence of flare and ghosting, and notes that stopping down allows a considerable increase in covering power. The first may have been on N&G reflexes in 1927. The Ross Xpres f3.5 and f2.9 were listed for the Multex, and it is thought that these were 5-glass types. The f2.9's were listed on the same reflexes as the f3.5 above in 1932 approx, ie Ensign Special Reflex. It was seen at No 836x, in 1/4plate with 6.5in (165mm) f2.9 No111,12x in black sunk brass mount. Another noted was No116,20x on a N&G reflex FR61x. Also at No110,92x as a 144mm lens. This has a 2 separate component front end like a Q15, but the single rear component gives at least two pale reflexions, so it is probably a 3 glass component like Ros036. The front glass of No111,12x is 60.5mm dia., and 165mm f2.9 requires 56.93mm so that there is a degree of oversize to minimize vignetting in a quite deep lens (say 63mm back-to- front). Central sharpness was very respectable at f2.9. These are a really scarce lens and one of which it was hard to find an example to examine. One was sold on a RoBoT camera at f2.9/35mm No139,10x which may be an original fitment of a movie designed lens. But note that a 1950's f2.9/25mm movie lens proved to be a Q15 type. One more definite conclusion is that these fast Ross lenses are fairly uncommon- less so than might be expected as they are well represented in the textbooks of the period! And in fact the 1928 B.J.A. does say something to that effect, that Ross had not striven to maintain a position as pioneers. 1in 25mm 16x12mm 2in 50mm 1x0.75in 2.5in 62mm 1x0.75in 3in 75mm 2.6x1.75in= V.P.K. 5.6in 144mm up to 4.25x3.25in (1/4pl.) 6.5in 165mm up to 5x4in 8.5in 215mm up to 6.5x4.75in 10in 254mm 6.5x4.75in. Fig 015 007 Ross Xpres f2.9/144mm No110,923 and f2.9/6.5in No111,222.

Xpres f2.75 This unknown lens is an oddity, just possibly a prototype or small batch special product, noted as a 3.5in lens in a black barrel mount but without an iris.It seems to use the 1+1+i+3 layout of the f2.9 Xpres and may be regarded as a narrow angle version of this, just possibly for some movie use. Fig 022 012 Ross Xpres f2.75/3.5in (no iris) No116,086.

Xpres f1.9 This was made only in small sizes to begin with: and even a 1942 list quotes only 1.0in for 16x12mm, 1.5in for 1x0.75in, 2.0in for 1x0.75in, 3.0in for 2.625x1.75in, so they were for 16mm and 35mm movie (B.J.A. 1931, p4). But bigger versions were seemingly made but not listed. It was absent in the 1920's and introduced in the B.J.A. 1930, p357, p4 Advert. and was described then as a movie lens, not a still one. In fact the 1.5in covers 24x36mm quite well if closed down a little even though it was designed for 18x24. It seems to be a Gauss Q18 type. 1.0in 25mm 16x12mm ie 16mm? 1.5in 38mm 1x0.75in (25x18mm = movie) 2.0in 50mm 1x0.75in (25x18mm = movie) 3.0in 75mm 2.62x1.75in=V.P.K. Ross obtained a Brit Pat. No323,138 of 1929 for a 6-glass Gauss design which may represent the Xpres f1.9. It used G1+2+5+6= 1.6122/58.6; G3+4 1.6534/33.9 and seems to be very symmetrical in layout with the cemented surfaces hollow to the centre. [It may also have involved a license from TTH to make it.] Ariel's list in Frankfurt has one of these- an f1.9/25mm for 16mm Ensign about 1939, as well as an f3.5/4in for a 1942 Newman&Sinclair 35mm camera. There is also a "Special Lens" made for a 1899 Burt Acres camera- (it may be a Petzval or a retrofit perhaps.) A f1.9/2in at No20182x was noted on a NS movie camera. A bigger version was an f1.9/5in N193,91x on a 35mm movie camera, where it was paired with a 4in f3.5 Xpres No195,49x- but these are fairly late numbers from about 1945 surely. Adverts in the 1930's say Mr R.J.Flaherty of "Man of Aran" was a user of the Sinclair Auto Kine cameras, and thence probably of the Ross lenses. Later about 1932, the 'Cinematograph' series was:

In f1.9, as 25mm/1in for 16x12mm; 38mm/1.5in for 1in x 3/4in ie movie; 50mm/2in for movie; 75mm/3in for 2.625x1.75in.

Fig 015 016 Ross Cine lens f1.9/1in (25.4mm) No135,936 in C-mount.

In f2.9, as 25mm for 16x12mm; 50mm for movie; 62mm for movie; 75mm for 2.6x1.75in; 144mm for up to 4.24x2.25in; 165mm/6.5in for up to 5x4in; 215mm for up to 6.5x4.75in; and 254mm for up to 6.4x4.75in. Thus the one list covers cine as well as large format, even though heade 'Cinematograph". Fig 021 032 Ross Cine lenses f2.9/1in Xpres No201,706 ctd. and f1.9/1in No135, 93x Uncoated.

Fig 031 035 Ross, London Gauss Movie lens, Xpres f1.9/1.5in No136,882. (not ctd.)

In f3.5: as 38mm and 50mm for movie; 75mm for up to 24x36mm; 90mm for up to 2.5x1.75in; 100mm for up to 2.5x1.75in; 112mm for up to 2.5x3.5in; 136mm for up to 4.25x3.25in; and 152mm for up to 4.25x3.25in.

In f4.5; as 4.75in; 5.5in; 6in. It does seem that they were offering to mount for movie any of the bigger lenses in the list, so they were probably selected but not special designs.

The main problem for a lens collector is probably in finding the f2.9 for the 5-glass layout. The others are probably 4-glass (f4.5, certainly, and f3.5 often though some were 5-glass) and 6-glass in the f1.9. The other difficult one may be the 20in f6.3 Aerial Xpres, which does seem to have a 5-glass design, and an enormous front glass to even up the illumination. It is therefore too heavy to be easy to reuse- or even to collect! (There can be confusion here as there is also a 6-glass Plasmat type 20in f6.3 for aerial use, but this is often or always coated.)

Process Lenses Ross must have begun by offering Anastigmats and then probably ApoTessars, but their own Ross process lens programme seems to begin with the f8.0 Homocentric in 12-24in above. Then after the war, they began to sell Process Xpres lenses in two series, plain and Apo, as follows:

Process Xpres f9.0 13in; f10, 16, 18, 21, 25in; f16, 30, 35, 42, 48in This was an early 1920's lens, being 'new' in B.J.A. 1926, p329. these were designed for critical work where colour was not involved. The above were the normal lenses offered. But note that it was f8 in 13, 16, 20in, then f9 in 25in and f12.5 in 30in in the B.J.A. 1924, p9; 1925, p351 and may have been modified in the run up to production as the f9. Coverage at 1:1 ratio was listed about 1932 as: 13in, 24x32cm at 1:1; 16in, 30x38cm; 18in, 33x46cm; 21in, 40x50cm; 25in, 46x64cm, 30in, 50x75cm, 36in, 60x90cm, 42in, 75x100cm, 48in, 80x120cm. The f8 was to cover the same format, so using 13in for 10x8in, 16in, 20, 25, 34in ie much as issued next year.

Apo Process Xpres f9.0, 13in; f10- 25in; f16, 30- 48in. This would tend to replace the above. The f10 16in Apo seen at No112,38x seems to be a Q15 or more likely a version with a 3-glass rear component. The earlier 13in f10 No 63,16x is more complex with 5 reflexions front and back, and one of these is faint in each case. This might suggest a Q20 design (below), but this is conjecture. The Apo was seldom advertised in the B.J.A. but was listed in a catalogue about 1932 when the Wide Angle Xpres was still quite a new product. It was some 20% more expensive. Coverage was listed as the same as the non-apo version above. And consider the next group.

Wide Angle Xpres. About 1928 a new Xpres lens was issued, perhaps primarily designed for aerial survey work but available to all. It was the Wide Angle Xpres, roughly of Q20 type but not separable. It was a very high quality lens but a heavy one. (see B.J.A. 1929, p358, p9advert.'new'). The B.J.A. noted the advantage of an f4 lens as a wide angle for focusing. And the 80° coverage and freedom from distortion were praised. It was sold in 7-14in at first, later as: 4.0, 5.0, 6.0, 7.0in for 7x7 or 8x5in, 8.25in for 9x7in, 10in for 10x8in, 12in for 12x10in, 14in for 15x12in, 20in for 22x18in, It had an aperture of f4.0, and covered 80°. The designers were Hasselkus and Richmond( Brit. Pat, 295,519) Layout Ros035. It was an important lens for the air force, being used as a 5in for 5x5 and later as a 20in of very high quality and this may have decided the original choice of foci made. Some 8.25in f4 wide angles were used on the P39 Torpedo Training camera (D. Rendell, B.J.P. 08/02/1980, p124) But in civilian life, the weight of these lenses will have told against them for civilian use except in the shorter foci. Thus apart from ex-MoD items, those seen were a civilian 4.0in f4.0 at No9,82x (!), a 6in lens at No194,49x, and a 8.25in at No120,24x. The 4in seems to be off a press type camera, with a focusing helix, but the serial number is anomalous. The 8.25in is a typical air-camera lens, with a very long mounting thread at the back, but probably civilian. Others of this size were used at No136,93x on a 'process' camera, and 131,52x on a 13x18cm Tropical made by Haager of Prague- although this may not be the original fitting! The 6in is thus the only "normal' one. There may also be a civilian 5in f4 at No 142,76x. (It is engraved Ross London and E.M.I. and seems to be a civilian iris to f16, and lacks any MoD engraving. A typical war item is No150,59x and carries a Air Ministry AM engraving and Ref No 14A/843, iris only to f11, also No 162,97x but here it is Ref No 14A/1101. Fig 014 022 Ross Wide Angle Xpres f4/8.25in No120,248; also f4/4in No9823(!).

There were in fact four series of these W/A Xpres lenses and one way to look at them is the ratio of front glass diameter to focus, which might be expected to be fairly constant in a set of lenses despite any changes in focus. This is in fact true as the 'normal' lenses are made closely to the required diameter for an f4.0 lens at 4.06, 4.02, 4.01 apparent f number. The f4.5 is also the normal diameter at f4.53, so there is no excess to improve edge illumination or avoid vignetting. But the f4/5in lens for the MoD is apparently an f3.1 lens, as the front glass is some 28% oversize and actually bigger than a normal 6in. It covers an enormous field really well, most of 1/1plate in fact. Thus there are: (1) the normal f4.0 from 1928 onwards; Fig 013 021 Ross Wide Angle Xpres f4/5in No142,766 for MoD compared with a normal Wide Angle Xpres f4/6in No194,947. The MoD type is relatively a much bigger diameter glass.

(2) the 'special' MoD version of 5in f4.0 with well oversize outer glasses, (as above) and

(3) a shrunk f4.5 version for sale postwar in leaf shutters.

Fig 014 024 Ross Wide Angle Xpres f4.5/5in No 2050 in Epsilon shutter.

(4) note also the 20in f6.3 aerial to replace the 5-glass Xpres above.

(5) f5.5 version below. The MoD version can be an interesting lens as it is a high quality one for 5x5, but it is often now in poor condition due to damage to the balsam, etc. It is bulky and heavy and stops only to f11 or f16 (where the f16 may not be engraved). It was discussed in MCM April 1946 as ex-WD sales progressed, and the EMI was translated as "Extra Marginal Illumination" and were a special design for improved edge illumination and sharpness, but Ross stated that this was at the expense of other qualities and that the lens was unsuitable for work other than at infinity; or for general photography. (There may have been concern that it would spoil postwar sales of the f4.5 series.) It has been seen at Nos141,313, 142,76x, 146,48x, and 146,145 and marked Ross, London Patent 5in Wide Angle Xpres f4 (E.M.I.) where EMI may be extra marginal illumination. These normally are marked 'Ref. 14A/843', the MoD code number.

Fig 013 012 Ross Wide Angle Xpres f4/5in No142,768 for 5x4in, contrasted with above Survey f5.6 for 9x9in for size- and weight.

An anonymous example was NoVV179,953, which seems rather near in number as if VV might be a Ross indicator. Both are also marked REF.No.14A/843^ and the stops are f4 to f11. The iris control originally used a bent plate bolted onto the lug on the iris and coming forward at 45° until about 1.5in forward of the front of the lens, to give control in a sunk mount(?). The flange is integral with the barrel. [The VV code for Ross is also marked on a f6.3/20in Tele where it is Ross London on the bezel with No114x, but VV114x on the outside of the barrel. Sales of F24 bodies with Ross f4/5in [or Dallmeyer f2.9/8in] at £85 were still in progress in 28/12/1977 (Am.Photo. Advert p95, by Harringay Photo. and these were complete and working. Options were 20in and f4.5/14in lenses at £39 and £35. Many accessories were offered.) Postwar, the f4/5in was often tried as an enlarging lens and was usable though this was as far as possible from the original use planned at infinity. The 5in f4.5 in Compur or Epsilon leaf shutters also seems to be commonly damaged by balsam failure at the edges- it normally performs quite well in spite of it. This was probably an attempt to shrink the lens to fit a commercial shutter, and only the Epsilon was available in the UK, in size 0. The f4.5 5in has been noted at No48,69x, 1,99x (2 of these!), and No2,034, all being coated and postwar. These latter are anomalous serial numbers and may be a new series. A 16cm f5.5 wide angle No9,698 specified type sold at Christies for £130 in 09/05/1991 and may be in this group.

Aerial Survey (Ball Shaped) f5.5 It was made in 3.25in, 4.0in for 5x5in plate, 4.5in, 5.0in for 7x7in plate,and 6.0in for 9x9in plate. An additional version was 6.3in* (160mm) f5.5 No9,69x (sic), noted at auction. These were listed well into WW2 as these foci (B.J.A. 1942, p6). Only the 6in is common, as it was sold off postwar in large numbers, and some of these were coated. It is a 5-glass design, and was mounted in a heavy brass or stainless steel mount (see advert.) and made individually, with the glasses held by springs. They were planned to be certificated by the NPL for resolution and distortion, and were matched to the thickness of the glass pressure plate in front of the film if this is used on the camera. In practice the ex-MoD lenses stop only to f16, and used today seem to require to be stopped down, possibly since civilian cameras do not have a glass plate in front of the film. A few were sold with part of the original shutter in place- this is useful if it is intended to use them today. The short foci are especially useful but really scarce. (Layout Ros037) The angle covered was given as up to 96°. It may be that the adjustment for the glass plate was obtained by altering the separation of the glasses. (This type of lens was seen at No 82,314, on a coated lens marked Ross London.). (Designers Hasselkus and Richmond 1936, Brit. Pat. 472191, 656,011, 1940). Note that the late version of the B&L Metrogon seems to have shared the pattern, but with the design reversed. At least one 3.25in f5.5 with a yellow filter, was used to build a 'Cloud' camera. Note the unusual 6.3in lens above*, with the unusual serial number.It may be a misprint for one such as the No82,31x above with the last digit omitted, but even so it seems a rather low number. Another version noted was a f5.5/130mm version marked "Rectifying for enlarging" which may be the enlarging version of the above- it was in a similar heavy brass mount.

Fig 013 011 Ross Wide Angle Survey (Tennis Ball type) f5.6/6in No82,314 with iris to f16, plain shutter.

The British Navy also used cameras and an account is in D.Rendell, B.J.P. 11/01/1080, p26, and he mentions a mixed batch of civilian cameras including 1/4pl Soho reflex with f4.5 Ross Xpres, a 1/2pl versions also, a Sanderson 1/2pl and even a Contax. He also mentions an F24 with a f6.3/20in (telephoto?) used for shot recording. [The camera was on ship at 90° to line of fire on target and recorded 'over' or 'under' and recorded the ship firing with a small 90° prism. Color was brought in when 2 ships were firing, the shells giving coloured smoke. A dial recording camera was also used. There were also 'low-angle marking' cameras- massive beasts with f4.5/6in Ross lenses to cover 8x2.75in- (this format suggests a wide angle Xpres f4 and that the f4.5 has been quoted in place of f4.0?)]

Manthos (above) notes a Xpres at No141,507 as on a 1940 camera. This will be about the end of prewar production. He has produced a Table of dates for lenses and also for Sibyls, which makes the assumption that production was constant for Ross lenses during the period 1914-1940. If you take his data for 1918 at 86,136 to 1940 at No141,507, this might be 55,371 lenses in 22 years, or some 2,700 per year. It does seem surprisingly modest! But remember there do seem to be 'anomalous' numbers on some of the Ross lenses which will increase the number sold.

Other older types continued: Wide angle f16 This was the 'old' anastigmat continued, and now made in 7 sizes as follows: 86mm for 4.25x3.25in or 5x4in at f32; 112mm for 5x4 or 6.5x4.75in at f32; 140mm for 6.5x4.75in or 8.5x6.5in at f32 184mm for 8.5x6.5in or 10x8in at f32, 210mm for 10x8in or 12x10in at f32, 265mm for 12x10in or 13x11in at f32, 315mm for 13x11in or 15x12in at f32. Ross note that the smaller sizes cover 100°, but the larger only 90°.

Ross Portrait Lenses In c.1932, these were made as a version of the Petzval in two types: (1) Cabinet Lenses. These worked at f3.5 and offered a wide range of softness by unscrewing the outer (? rear?) cell of the lens but otherwise offered a very fine sharpness for studio work. They were made in 3 sizes, as: 8.25in focus, 2.75in dia., for Cabinet pictures at 12ft in small studios. 10in focus, 3.25in dia., for ?Cabinet pictures. 12in focus, 3.5in dia, the preferred size for Cabinet Portraits at some 18ft from camera to subject. (2) Portrait Lens This was only as a 16in focus lens, 4in clear dia., for Promenade Portraits and Cabinets in long studios.

Other Lenses in the inter war period. Xpres as above at f5.5/f6.3. Teleros, as above. Astaros f11 on Ensign Fulvue Synchroflash, this was certainly made postwar at about 1950, but possible also prewar. Projection Triplet eg in 8in. Projector Lenses The 'New" Ross projector lens set was in the B.J.A. 1921, p13;1922, p13 and made in outer tube diameters of 52,6 and 42.6mm as follows: 115mm f2.5 f3.1 127mm f2.8 f3.45 130mm f2.87 f3.54 133mm f2.9 f3.62 140mm f3.1 f3.8 145mm f3.2 f3.9 152mm f3.36 f4.14

Epidiascope Ross made a very impressive epidiascope to show 3.25in sq slides (dia) and paper drawings (epi) with 10.5in lens for slides and 17in lens for drawings; the latter being an anstigmat and probably a big fast triplet. This sort of equipment was costly, eg. £35.50 and used by schools and colleges. (B.J.A. 1932, p286)

It may be worth summarizing the 1939 advert. as the end of the prewar period. In B.J.A. 1939, p3 they offered: Xpres f1.9: 1.0in 25mm 16x12mm ie 16mm? 1.5in 38mm 1x0.75in (25x18mm = movie) 2.0in 50mm 1x0.75in (25x18mm = movie) 3.0in 75mm 2.62x1.75in=V.P.K. Xpres f2.9 1in 25mm 16x12mm 2in 50mm 1x0.75in 2.5in 62mm 1x0.75in 3in 75mm 2.6x1.75in= V.P.K. 5.6in 144mm up to 4.25x3.25in (1/4pl.) 6.5in 165mm up to 5x4in 8.5in 215mm up to 6.5x4.75in 10in 254mm 6.5x4.75in. Xpres f3.5 1.5in 38mm 1x0.75in movie 2in 50mm 1x0.75in movie 3in 75mm 1.25x1in 3.5in 90mm 2.5x1.75in 4.0 100mm 2.5x1.75in 4.375in 112mm 3.5x2.5in 5.375in 136mm 4.25x3.25in (1/4pl) 6in 152mm 4.25x3.25in (1/4pl) 6.5in 165mm 4.25x3.25in 7.25in 165mm 5x4in 10in 254mm 6.5x4.75mm

Xpres f4.5 75mm, 90mm, 105mm, 112mm, 120mm, 127mm, 136mm, 140mm, 152mm, 165mm, 184mm, 215mm, 254mm, 305mm, 360mm, 420mm, 533mm. Typical coverages were: use 90mm for 3.25x2.25in (6x9cm); 6in for 5x4in; 8.5in for 5x7in; 14in for 10x8in.

Wide Angle Xpres f4.0 in 4in for up to 5x4; 5in for up to 5x4; 6in for 1/2plate; 7in for up to 8x5in; 8.25in for 9x7in;10in for up to 10x8in, 12in for 12x10in; 14in for 15x12in; 20in for 22x18in. Teleros f5.5 2x power, 6.25in for 2.25x1.75in; 9in for 6x9cm; 11in for 1/4plate; 12in for 5x4in; 13in for 5.5x3.5in; 17in for 6.5x4.75in; 22in for 1/1plate and 40in f8 for 1/1plate =8.5x6.5in. Also in focusing mounts: 4in, for Leica; 6.25in, 9in; 11in; 12in; 13in. also for shutter fitting: 6.25, 9, 11, 12, 13, 17in. Teleros f6.3 3x power in 9in for 2.5x1.75in; 13in for 6x9cm; 17in for 3.25x4.25in; 25in for 6.5x4.75in. These could also be had in Compur or Compound shutters. Homocentric f6.3 (Here 2 formats were given, only the larger for stopped down use is quoted here. 5in for 5x4in; 5.5in for 6x5in; 6in for 6.5x4.75in; 6.5in for 7x5in; 7in for 7.5x5in; 8.5in for 8.5x6.5in; 10in for 10x8in; 12in for 12x10in; 15in for 15x12in. Homocentric f8.0 7in for 8.5x6.5in; 8.5in for 10x8in; 10in for 12x10in; 12in for 15x12in; 15in for 18x16in; 18in for 22x18in; 21in for 25x22in and 24in for 30x24in, again for stoped down use, as above. Process Xpres f9, 13in for 13x9in; f10, 16in for 15x12in, also 18, 21, 25,and f16, 30, 36, 42, 48in, where format is for 1:1 at full aperture. Note The Combinable was not in this advert. but Kodak Australia listed it and also Apo and plain versions of the Process lens. (B.J.A. 1939, p703). And movie lenses may have been left out: thus Newman-Sinclair were listing Xpres f1.9 in 1in, 2in; Xpres f3.5 in 4in and Teleros in f5.5 9in. (p301) and many were listed in the advert. p485, as: Xpres f1.9 1.5, 2, 3in; f3.5 'Special' Xpres 1.5in; f3.5 Xpres 2, 3, 4, 6in; f4.5Xpres 6in; Teleros f5.5 6.25, 9, 11, 13, 17in. ______

World War 11 Lenses. Advertising of civilian lenses continued at least into 1942 (B.J.A. 1941, p6; 1942, p3; 1943, p3), but it is uncertain how far stocks were really available to meet orders. Thus in 1942 they offered Xpres as f1.9; f2.9; f3.5 and f4.5: Wide Angle Xpres as f4.0; Teleros as 2x and 3x as well as the wide angle survey f5.5 and the Process Xpres f9/f10. It is likely they were partly running down prewar stocks to get cash in and were actually very busy on wartime items such as the wide angle survey lenses in f4.0/5in and f5.5/6in, which were quite common at postwar sales. It is probable that movie lenses remained in production as Newman Sinclair offered a set of Ross lenses on the NS Auto Kine Camera including f1.9/2in Xpres, f1.9/1in Xpres; f3.5/4in Xpres and f5.5/9in Teleros. "There is now some difficulty in obtaining lenses for other purposes than Service and Government requirements, and while at present we hold reasonable stocks, in future it may be necessary to substitute lenses other than those listed." These Ross aerial lenses were important in the war, but also postwar have become a feature of the collector market as they were sold off and have remained in some sort of use. They are often heavy and bulky, especially as Ross seem to have used brass more extensively than others. Production was shared by several firms, so Ross designs will occur made by NOC and others, and quality may have varied under war conditions. Thus they may be best listed under the size of Williamson camera to which they were fitted. The binoculars included the 7x50 Stepnite from 1930 with cemented prisms and bridge to the eyepieces for high contrast, and many of these were used in the Army. Ross lenses seem to be coded VV prefix- see 5in f4 Wide Angle.

F24 for 5x5in These were often mounted obliquely in pairs on Spitfire or Mosquito aircraft, with a F52 camera mounted vertically. Lenses used were: Ross Survey 4.0in f5.5 This is a rare and desirable lens (Ros037) Ross wide Angle Xpres f4.0 5in (Ros035) These are quite common, but are often in poor order, heavy, limited iris. Thus they make a low price now. It is seldom or never coated. Telephoto f6.3 20in for 5x5 These were a heavy lens of 2+2 design, and may match the Dallmeyer series rather than the Teleros. They are not common. They are marked O.R. and Ross London, at No1,140. (anomalous!) and A^M VV1140.

For F52 7x8.25in (Essentially a 9x9in format). Ross Xpres f6.3 20in This was a 5-glass 3-component type with a very large front glass to avoid vignetting, (Ros036, Ros035) It is too heavy to be attractive to reuse today, but one user describes it as 'excellent.' Ross Wide Angle Xpres f5.5 6in above. Ross Wide Angle Xpres f6.3 20in These are the late replacement for the 5-glass type above and are a Plasmat type Ros035, and are coated. They are excellent and sought after by astronomy workers, but the coat can be very soft, and balsam failure has been noted. Ross f4.0 8.25in This was probably from inter-war use. Ross Apochromat f15 60in This was probably used as a collimator lens in the forces. Scarce. Mirror Lens, This was probably postwar, of Maksutov type, at f6.8, 60in. Scarce. Ross-Williamson Survey f5.0 6in This was an enormous wide angle with a 9x9in glass pressure plate and may be made to the Wild Aviogon design, but in an unusually big size. Impressive but hard to use. It is hard coated, and uses thorium glasses. It is a really scarce item.

UK Aerial Cameras. See R. Conyers Nesbit and Laws for details. This is not really a listing of cameras, but the aerial cameras are rather obscure and also so closely linked to the lenses that most of them will be listed here: A-Type Thornton-Pickard box type, 5x4in, with 8.5in Tessar lens.This was in use from March 1915. B-Type Thornton-Pickard for 8.5x6.5in with longer lenses. WA Type a version of the above with shorter lenses. C-Type This was the same size as the A Type, with semi auto plate changer, from Summer 1915. E-Type This was made of metal, and was used from 1916, when it replaced the C-Type. Eyemo by Bell & Howell, this 16mm cine was used to record the H2S CRT image continuously, possibly uniquely. F8 This was designed by Laws and Stringer in 1919, and used 7x7in format, but at £200 was too costly and only 30 were made. It was taught in RAF schools to Sept 1938 at least. Later it was used in India and Burma in 1942. Lenses fitted were 7, 10, 14 and 20in, and may be commonized to F24. F24 This was the 5x5in budget version of the F8, from 1925, and continued well into WW2 with lenses of 5, 8, 14 and 20in. There may also be a 48in lens. (Wray or Ross). The 5in was noted prewar in 1939. Some were manually operated with a sight. F49 This was a post- 1945 aerial survey camera. F52 This was from Jan 1942, for 8.5x7in, and used the same mechanism as the F24, but a bigger 9in film and lenses up to 40in Again it was a Stringer and Laws design. F89 This was a postwar type. (1950's) F95 This was the Vinten 70mm camera, with TTH and ELCAN lenses, + 38mm Biogons on the later models. F96 F97This was a two lens camera for short continuous exposures of two alternating films. F117 This was a hand held camera. (F117B used a f4.5/6in Xpres, ctd, and this will be the one noted below. It was selling off in 12/1977. F126 A vertical camera, replaced the F95 in some 1970's applications. F135 It was in use in the 1970's, especially for night work. G28 This was a Gun training camera based on the Vickers K gun for 2.25in sq. negs. (1940?) G42B This was a 16mm/25ft lengths gun training camera, also used for battle recording, it was replaced in c.1942 with the simpler G45. G45 This was a compact WW2 16mm recording camera with Dallmeyer f3.5/50mm lens, no iris. Hycon-BUSA camera, late 1950's used on U-2A Lockheed, for a panoramic strip. High resolution lenses unspecified. Hythe Mk III was used for training at least to the 1930's. *Kodak 35 Kodak Bantam: these were fitted Nov 1944 with Dallmeyer 1in lenses, or Kodak f2.0/26mm lenses to record H2S (UK) or H2X (USA) screens. Number of USA types is unknown. The USA was certainly a Kodak 35-"Use Kodak 135 film" label in back. *K-17 From about 1943, this was the main USA camera of the WW2. *K-19 This was a night camera, especially about 1944? ( ***The last 3 will be USA origin items.) *K 20 This was a WW2 day reconnaissance 5x4in camera with c.f4.5?/6.375in lens L-Type From 1917, it was driven by a 'windmill' and fitted anywhere on the plane. LB-Type This was essentially a L-Type camera with longer lenses to 20in, and was designed by Laws and Brabazon. It continued in use to the 1930's being recoded P7. Leica It was occasionally used as a recording camera, eg. by S. Cotton, and for H2S recording. PanRos This was a pre WW1 and early WW1, 5x4in, 6in ?Mill Hill Ross lens. P was a post 1918 code for a plate camera, as opposed to F for film. P7 This was previously LB type. P14 This was a was a development of the A-Type. It was metal, used a 10in lens. P18 These cameras resembled the P14, with 6, 8, 10in lenses. System 111B This a modern camera (1990's) Watson Air Camera The very first RFC commissioned camera, 1913. WA-Type see B-Type above. Zeiss RMK This is a modern sophisticated survey cameras as RMK 15/23 and RMK 30/23, lenses not listed. "100in Type" This was an American spy plane lens. (fl. c. 1954)

Post-1945. The agents for New Zealand and Australia were Kodak and they listed a number of items which seem not to have been sold in the UK. Thus the 1945 advert. promises Xpres in f1.9, f2.9, f3.5, and f4.5; Wide Angle Xpres f4 for 80°; Combinable f5.5 and f6.3; Teleros in f5.5 and f6.3; Homocentric f6.3; and Process and Apochromatic Xpres f9. "Apparently extra" items are in bold. (Another possibility is that the advert was carried on unchanged from the early 1940's and in the war years was never revised.)

There was an active programme early postwar, both of professional and amateur equipment, and this was detailed in the adverts in the B.J.A. for say 1945, where there were considerable lists of equipment, mainly for future production. And in the 1946 advert. this is definitely the postwar programme and is to be of hard coated lenses. But this initial enthusiasm tailed off in the postwar period of shortages and government controls: and later in the 1950's, as foreign lenses were imported, and the last big advert. noted in the B.J.A. was in 1955, p66 et seq., the next year only cameras and one enlarging lens being shown. The adverts were as Ross Ltd up to about 1948, and later the firm amalgamated with Barnet-Ensign as the lens making part of Barnet- Ensign-Ross and the adverts. showed less and less product independantly offered for the market.There was certainly a marked shift to concentrating on defense orders and a few special orders such as the Microcord lenses. The difficulty may have been one of price and possibly sheer fatigue after a second war.

An early peacetime list (May 1946) is as follows: Xpres f4.5 3.5-14in for 58° Coated. (The actual foci were 89, 111, 137, 140, 152, 184, 216, 254, 305, 356mm) This was the first item to be sold coated and those seen have a hard long lived coat. (B.J.A. 1947, p3) Note above that the extenal curves show the design seemed to be slightly new also. It has been seen as 6in f4.5 at No 202,31x and also at No9,80x- an example of "anomalous" numbering. Sizes and coverage were: 89mm 3.5in for 3.25x2.25in (56.25x 82.5mm or actual size of 6x9cm).£11.90 111mm 4.375in for 6x9cm £13.27 137mm 5.375in 3.25x4.25in £14.24 140mm 5.5in 3.25x4.25in £14.36 152mm 6in 5x4in £16.10 184mm 7.25in 6.5x4.75in £20.95 216mm 8.5in 7x5in £27.60 254mm 10in 8.5x6.5in £38.00 305mm 12in 10x8in £55.50 356mm 14in 12x10in. £76.00 all + Tax 21.66% The 6 and 8.5in lenses are quite common in coated form and usually in good order as the coating was hard: they still are useful to large format users as they are sharp and of good contrast.

Wide Angle Xpres f4.0 4.0, 5.0, 6.0, 8.25,10in for 70°. In more detail this is : 102mm 4in 4.25x3.25in at full aperture. 127mm 5in 5x4in 152mm 6in 6.5x4.75in 210mm 8.25in 9x7in 254mm 10in 10x8in No mention yet of the f4.5 version. It was corrected to focus Infrared as visual focus, and needed no focus correction for this. The example in the B.J.A. 1946 p189 notice was hard coated externally but probably soft coated internally.

Xpres f2.9 5.625in (143mm) for 3.5x2.5in, 6.5in (165mm) for 5x4in, covering only for 50°, also perhaps 5.125in. This was a surprising survivor and one tends to think it may have been made up from old parts in stock. Although the advert. refers to the lenses as coated in the headline there is no specific mention of this for the f2.9 and it and the Teleros may not have been. Price was £27.60 and 31.00 + Tax at 21.66% respectively.

Wide Angle f16 3.25-12.25in for 100° This was the "old" Anastigmat Protar type. It was listed at least to 1951, B.J.A. p68.

Teleros f5.5, f6.3 6.0-40in for 28, and 25° respectively. f5.5 This was made in 6.25in for 35mm still or movie, 9.0in for 3.5x2.5in (6x9cm), 11in, 12in for 4.25x3.25in, 13in, 17in for 6.5x4.75in, 40in for 8.5x6.5in (40in as f8.0). This was a two magnification lens for a larger angle of coverage. f6.3 This was made as 13in for 3.5x2.5in and 17in for 4.25x3.25in only. It was three power=magnifications. Teleros was advertized as above in 1947 (B.J.A. p4) but has not been noted later. Other products were listed as coated then but the Teleros was probably still not coated although a late Tilica f5.5/4in may be a factory coated item.

The B.J.A. advert. may have lacked space for other items. Ross certainly made and later listed the following: Homocentric f6.3 7.0in for 4.75x6.5in; 8.5in for 5x7.5in, 10in for 6.5x8.5in, 12in for 8x10in, 15in for 60°. It was as 7.0-12in in a 1955 list and it is thought it was very like the prewar lens in design. The B.J.A. 1950, p36 advert. indicates that the Homocentric was classed with the wide angle f16 in some sense; but not really as a wide angle. It was suggested for copying. also: Apoprocess f10 9.5,13in

It shows where coating was first applied to the Xpres, though the more complex wide angle might have benefitted more. The wide angle Xpres returned to the small front glass style. A patent for long focus Xpres and process lenses is to Hasselkus and Richmond Brit. Pat. 592,144. See also below. Fig 013 022 Ross ApoProcess Xpres lenses f10/13in and f10/16in No112,383. Note screw over cap in brass.

Aerial Survey f5.5 6in This was listed on the Williamson O.S.C. Mk1 camera postwar in B.J.A. 1946, p168;1947, p350. It will be the WW2 lens continued and coated, in a fully revised new camera.

New Lenses after WW2 Ross was very active in the first years, when there was a severe shortage of equipment, but by the 1950's the Government was allowing the import of increasing amounts of foreign cameras, and the market saturated, so that like all the UK makers, they retreated into specialist areas such as process lenses and Defence orders. Ross held a large displenishment sale of old stock in the later 1950's as shown by adverts. in Am. Photo. about 1957 and this still included uncoated lenses from new stock or samples, albeit often in singles. The following is an attempt to list new items introduced in this postwar period. Ross f3.5 50mm for M39x26, a really rare item, and possibly an attempt to enter the Reid or Witness accessory business. It just may be one of the Xtralux series but has not been seen. Ross f3.5 3.25in coated anastigmat with iris to f96. This was used on the Dyce laboratory camera in B.J.A. 1950, p187 but is difficult to place: it may be a movie lens transplanted or a war design.

Xtralux This programme of 3 lenses for M39 cameras seems to have evolved about 1949-50 to judge from adverts in the B.J.A. where it is absent in 1949 (p60) and present in 1950 (on p37). Note that the 1950 advert. would be produced in late 1949 but delays in supply were then common and could be long. It should be noted that the Definex was by then a piece of history, even though there is some evidence that the Xtralux 90mm was much the same design and can have lower serial numbers- it suggests that the delays were in making the focusing mounts or in materials, which may be the same thing. When they came the long lenses were quite impressive but also quite heavy- especially the 135mm lens. The 50mm is much rarer and not all seem to be for the M39 normal mount. Possibly it was less needed or seemed expensive or the brown glass was considered to be a problem. The long lenses did not have this feature. Xtralux f2.0 50mm in M39x26. A 6-glass Gauss using new glasses for a M39x26 lens, it does actually exist in two (or three) forms, though both/all are scarce. Normally it is a collapsible chrome plated lens, [rather like a Summitar in shape] but an apparently rigid example has been seen and was listed as a version in 1950, p37. Some of these lack an iris, and it is suggested they are for CRT recording. Possibly the "new" brownish glass colour hindered sales. It was seen at No199,09x and 199,15x. It was 'new' at the British Industries Fair 1948 (MCM 6/1948) and advertised (sold?) about July 1949 and 1951-5 (See MCM Nov 1951, B.J.A. 1951, p68ad., noted 1950 p237 for a picture of all 3 lenses) but sales of the 5cm must have been slow. Review MCM Aug 1949. "For the optical performance --we have nothing but praise"/ "exceptionally fine definition".The price of the 50mm was £53 in 1949 (collapsible) or £40 non-collapsible.. Note that in B.J.A. 1951, and 1954, p70 these are all grouped together as if they were classed as one set of products, even though later owners tend to think of the foci as rather more individual. For a picture, see B.J.A. 1953, p70.

Xtralux f3.5 90mm This was usually or always for M39x26. It was a medium long Q15 type lens, and it was as well liked as the 50mm, and cost £40.12. It was noted at No198,71x and205,42x. It was noted in B.J.A. 1950, p237, as conveniently slim, coated, using E36 filters, and 'an efficient general purpose long focus lens.'

Fig 012 014 Ross lenses in M39: Xtralux (l) f3.5/9cm No198,71x; (rear) f4.5/135mm No235,40x; (front) f2/5cm No199,19x collapsible, also rigid lenshead, (r, rear) Teleros f5.5/4in (2x) in E36 and E42.

Definex f3.5 90mm This was normally for Contax fit, mounted by Stewartry in Scotland. (See Stewaerty. It was related to the G.B.Montgomery Manufacturing Co, and the mounts were mainly made by Mr W. Connolly see Anderson in Photographica World, 1990's). This seems to be the same optic as the Xtralux as the external curves seem to be the same, but in focal lengths varying around 90mm (roughly 88-92mm), and this may have complicated the coupling of the lenses. It was seen at No 201,44x, 201,50x, 205,33x, 212,23x, 212,69x, 213,00x while an Xtralux was at No198,71x. Also the Xtralux seems to have sold later than the Definex, even though the Xtralux numbers are or can be lower- suggesting that the mounting took longer. All Xtralux were mounted in London it seems. All are hard coated and optically of good quality. Fig 012 017 Stewartry lenses: (l) Definex (Ross) f3.5/89mm (Contax), (r) Definex for M39; and (m) f3.5/105mm Trinol for M39.

Xtralux f4.5 135mm for M39x26 also. This was the last of the set. None is common, but they are getting scarce as M39 lenses are collected. A few were made in M42 apparently unless one listed was converted from M39 for use on an SLR. It was noted at No235,40x, 235,52x in M39.

Lenses for Rollfilm Cameras There was a big programme of lenses for Ensign cameras, and a few for other makes. Xpres lenses (for Selfix cameras, from the Barnet-Ensign-Ross business). Here the best known is the Q15 type 105mm f3.8 on the Selfix 820. It was 'new' in MCM Dec 1949. It is a lens well worth transfer to a 6x9 plate camera, and just may be the basis of the Xtralux below, or related to it. Xpres f3.8 105mm for 8/20 Selfix. (Also offered with a f4.5 Ensar.) Note anomalous numbers- here they just could be from Ensign manufacture?) thus some including two offered at auction were Nos242,06x, 261,23x, 262,91x, 262,81x (normal numbers) and 504x, 651x, 10,28x, 13,22x (anomalous numbers). Where it could be checked, the later body number was on the low anomalous number lens. The front and rear curves are the same on both types. The cameras do not seem to differ and normally sell at the same values. A very late Selfix Autorange 820 was noted in B.J.A. 1956, p213 and still had the same f3.8 Xpres. Xpres f3.5 77.5mm for Microcord TLR from MPP a Q15 type. Mr Dell of MPP told of going to Ross to order this lens and insisting that a new design was required rather than a lens made to a tired yellowed old drawing taken from a bottom drawer. The result in contemporary test bettered the German equivalent in the centre and was equal outside it in outer field areas. He said that they did not always reach their best in use due to errors in matching the 3-glass view lenses to the Xpres. This was one factor improved in the later Microflex model. Microcord Xpres lenses were seen at No20,48x, 67,19x, and 87,87x, 78,57x. It was advertized as a separate item, and the Microcord was noted in B.J.A. 1953, p219 with "The definition is excellent". (see also MPP and TTH for the Microflex.) Xpres f2.8 8cm This was noted on a prototype TLR with no serial number. It seems that production was abandoned: it may have been a victim of the 1958 relaxation of imports. Xpres f3.5/75mm This was used on the Selfix AutoRange 16-20 camera (B.J.A. 1953, p196, p212, Selfix 12-20 Special camera noted in B.J.A. 1955, p180). Users seem to regard the Xpres as good and the Epsilon could be the problem. The definition was said to be good and maintained out to the edge. It seems to have been offered as a separate item in B.J.A. 1954, p69. Xpres f3.5 This was made as a 75mm lens for the Komlosy 70mm camera. This is an excellent performer, and may be still another design- incidentally the curves show that it certainly is not the same as the Microcord lens: It was seen at No82,77x, in a leaf shutter such as a Compur Rapid, in body No19x. It is not a common camera and the lens may be a rare one. The cameras were selling off ex-WD in April 1970 at £32 each complete. Xpres f3.8 105mm A quite early postwar item, it was used on the Selfix 820 camera, which sold well and is quite common. The quality was well maintained and this is a worthwhile lens to refit to other cameras if the shutter is sound- this was the Epsilon. All were coated, though the coats were early ones. The original reviews were favourable (B.J.A. 1950, p207). This Xpres was listed as a separate item in B.J.A. 1954, p69. The Selfix was in production with the late uncoupled r/f in B.J.A. 1954, p189 with this lens. Xpres f4.5 This was redesigned at some stage from the prewar lens, and sold quite well especially in 6 and 8in, and the coatings are hard and the definition really good- the big professional Ross Xpres had a fine reputation. A late list in B.J.A. 1955 p70 has: 152mm 6in 5x4in 184mm 7.25in 4.75x6.5in 216mm 8.5in 5x7in 254mm 10in 6.5x8.5in 305mm 12in 10x8in 356mm 14in 10x12in

Xpres f4.5 150mm This was made for a F117B NATO 5x5in camera, and this is a late coated lens of high quality, but it cannot be transferred to a normal Cpr 1 shutter since both cells are the same size thread. The cameras were used regularly over the sea and are now seldom free from corrosion. They were being sold off by Harringay Photo in Am Photo 28/12/1977 p95advert. at £125 complete.

Wide Angle Xpres f4.0 4in for 5x4; 5in for 5x4in; 6in for 4.75x6.5in; 8.25in for 7x9in; 10in for 10x8in lenses were offered in B.J.A. 1954, p69. The f4/4in was noted on a VN Press camera for 9x12cm as a compact semi-wide lens. Here it was fitted in a SynchroCompur No1 shutter, surely from the early 1950's, but the W/A Xpres was still uncoated and at No197,90x seems to be 'old' stock. It just may have been an 'old' treasured lens refitted to a new camera/shutter but this is unlikely as it was used in a top news agency. More likely Ross had a stock and sold them off as needed irrespective of number. Other examples noted are in sunk focusing iris mounts (inf to 2ft) with the cells in threads very near those of a Compur 1 but not exactly the same. Other serial numbers were 232,28x and 982x- an anomalous one! These are all in nice order optically with no sign of balsam failure.The mounting thread is 1.75inx24TPI, or actually be a Compur shutter itself. Wide Angle Xpres f4.5 127mm (5in) This was a moderately common, originally expensive lens sold for 9x12cm and 5x4in press use, usually in a Epsilon shutter, and can be a blisteringly sharp lens. (B.J.A. 1952, p244). It then covered 1/2plate 'well to the corners' but with vignetting unless stopped down to f8 or less. The B.J.A. saw an uncoated lens, but all commercial sales were to be coated and appear to have been. But sadly there have been a number noted with peripheral balsam yellowing and "crystallization", and this affects the price and means that great care is needed on purchase. Serial numbers can also be unusual, eg. No205x which suggests (with the balsam problem) that they in some way fell outside normal Ross manufacture. This and the Epsilon shutters tends to limit prices. The focal length was probably decided by the lack of a bigger UK shutter, eg. to take a 150mm f4.5. Thus Ross will have first designed a smaller Wide Angle Xpres to fit the Epsilon, and found that a 5in was well able to cover 5x4in, and that Pressmen liked the increased depth of field it gave, and note that 9x12cm was in fact often used by them. So it was a compromise favouring aperture. But for other workers, the focus was rather short and it is now apparent that postwar there was going to be a move towards a slower f5.6/150mm in 5x4in. It seems that Ross was moving out of the general market by the time this occurred, and also by the time Compur shutters were in easy supply in the UK. The 5in was still advertized in B.J.A. 1954, p68. An enthusiastic civilian user was Mr J.C.Cox (B.J.A. 1949, p142), who used and liked many English wide angle lenses but preferred the f4 for the brightness of the image when focussing and composing. A f4.0/6in was used in the photofinish camera for the 1948 Olympiad (idem, ibid, p159). Xpres f4.9 5.5in (about 140mm) As suggested above this, seems to be a move to a slower, Compur mounted Xpres version. It was noted as lens No19,51x in Compur No7,864,08x (about 1951-2) and the lens serial number is anomalous and near some early Microcord Xpres lenses. It was the normal fitment to VN Press cameras, at least after WW2 until about 1960 [when they began to list 135mm f4.7 Xenars.] Homocentric f6.3 7in for 4.75x6.5in; 8.5in for 5x7.5in; 10in for 6.5x8.5in; 12in for 8x10in. These were still available in B.J.A. 1954, p69, and they could be supplied in Compur or Compound shutters by arrangement.

Telephoto Ross made a new 50in Ross Tele lens for the Coronation, and its use on a Soho reflex is described with pix in MCM July 1953.

Process Lenses: These were continued probably as the Apo version but recomputed as they were described as a new series in B.J.A. 1953 p69, and sold in: f10 9.5in for 5x7in at 1/2life., 13in for 10x8in at 1/2life; 18in for 11x14in at 1/2life; 21in for 13x16in at 1/2life; 25in,all with prisms.(A Ros035 version has been seen) f12.5 30, 36, 48in. The process lenses and prisms are noted in B.J.A. 1954, p187. The 9in seen had stops to f90, and were said to be reliable for sharpness and colour correction, and prices were from £38.00.

Resolux enlarging lenses These were a new and successful product in the sense they seem to be postwar, and have not been noted in prewar lists: they are not in the 1945 advert. but are in the 1946 one, even though supplies will probably have been a trickle at first. 5cm for 24x36mm £7.87 + Tax in 1946 (B.J.A, 1945, p4advert., 1946, p5advert., 1946, p185) f4.0, 90mm for 6x6cm; 110mm for 6x9cm. to come in 1946. They sold well from the number now seen such as a 90mm f4.0 Resolux No226,790 in a chrome barrel M39 mount. In the B.J.A. 1947, p4;1950, p37 they were all in chrome barrels and are coated. Initially the B.J.A. note suggests that only the outside was hard coated, the inside being soft. It was said they certainly gave better definition and highlights in enlarging than a camera lens would. They were still all there in B.J.A. 1954, p70 and on p71 there is an advert. for an enlarger with an f4.5 lens for 6x9cm- possibly a branded item? They were a fairly expensive item for the time: 5cm £9.00; 9cm, £10.92; 11cm, £12.37, all with Tax extra at 21.66% in the UK.

Rosstar Rosstar f4.5 105mm? This was noted on the Clubman 6x9cm folder in 1955. The 105 and 75mm Rosstar lenses were listed in Epsilon shutters in B.J.A. 1954, p69. Rosstar f4.5 75mm This was normally as the lens on Selfix 16-20 cameras for 16- on, in an Epsilon shutter. It was coated and from the 1950's. (B.J.A. 1953, p212;1955, p68) Rosstar f4.5 5cm This was seen as an enlarging lens at No 11,04x and 11,70x, probably a triplet. The serial number is anomalous. Fig 015 010 Ross Rosstar Enlarging Ctd f4.5/5cm.

Ross Gauge Projection This lens was sold for engineering examination of projected images against outline standard drawings. It was sold in 2.25, for 1in field diameter; 4.5in for 2in field; 9in for 3in field. It was noted in B.J.A. 1954, p194 and these were expensive lenses with the 2.25in at £35.50 and perhaps must be thought of a specialist process lenses with low distortion but higher speed than usual for a process lens. Matching condensers were also listed.

Chronology and Serial Numbers It is obvious from the above that many Ross serial numbers fit into a series from a low initial figure of perhaps 100 or 1000 as a beginning in 1840 to a final value of perhaps 250 000 in the 1950's, but that there are 'anomalies'. Thus a lens with Waterhouse stops at No1,47x seemed to be an RR, but the serial number seems very low for the date suggested from the product. So there may have been a new start. There are many good reasons why a maker sets up a new number start, including new management, a new plant, boredom or new technology. And makers may use the 'number' to indicate instead the date or the camera for which it is intended. Thus the lenses Ross seems not to have numbered in series are of real interest, but at present are something of a problem to explain.

Possibly the simplest is the series (1 or more!) used for the lenses made from Zeiss and Goerz designs. These are kept separate from normal Ross designs, and it may just have been to help all the parties know how many were made and to be paid for, or may be related to warranty questions. It is not yet possible to say whether each firm (Goerz and Zeiss) had an individual series however.

But there does seem to be a new set started late on of truly Ross designs. For example see the 5in f4.5 W/A Xpres, and 105mm f3.8 and 6in f4.5 Xpres numbers above. It may be relevent to note here that a correspondent remembers seeing Ross retainer rings being fitted to lenses in production by Leech, the opticians of Rochester in Kent, and they may have been an important subcontractor possibly with their own serial number series. And this just may relate to other lens numbers from Mill Hill or elsewhere. An important study of Newman & Guardia cameras by A. D. Manthos in Photographica World 62, p13, 1992 can be used to derive a chronology in parallel to this. It is well worth comparing. To make a guess, perhaps the real list ran a bit like this: 100? 1840 3,000 c.1850? This is a Cone lens dated in Hasbroeck's book, date approximate. 4,760+8660 These still use washer stops, ie pre-1859. There are two Orthographics at about 7,000 listed above and this was a short lived lenses made from about 1859, and do have Waterhouse slots. (Possible retrofit?) 6,500? 1860 (There just may be a new start here?) Hasbroeck shows a stereo pair at No5814/5 and dates them as c.1862, but this just may a year or so early. 12,500 say1870 20,000 1875 Hasbroeck dates a camera as c.1875 with lenses about Nos17,000-20,800 Here production will have accelerated considerably with new processes in use. Thus Hasbroeck dates a No11 Symmetrical as c.1880 at No44,430. There was evidence that Symmetrical No23,79x was at or pre-1874. There is a Rouch camera in the list from about 1885-1890 with No47,31x. 50,000 1890-1895 here also Anastigmats, 0-15000 approx.(1890-1910 perhaps?) A London Stereo Co camera with Ross No81,96x was marked as 1911, so the dates may be earlier than suggested. 76,000 1914 Note that the Combinable seems to start here at No57,000 approx. 81,967 This Ross-Zeiss Tessar seems to be gifted in 1911 (see above). 86,000 1918 here a set of Mill Hill lenses in series. 95,000 1921 Note No9,45x was found in a dialset Compur of c.1925. Ross lenses in Compurs are not too rare at this point, as used on some Ensigns. 100,000 1924 105,000 1925 Note No108,86x was found in a dialset Compur of c.1927 but the number was rather obscured and subject to some doubt. 110,000 1927 115,000 1930 120,000 1931 125,000 1933 Note that Homocentric f6.3/7in No128,36x was found in Rimset Compur No2? No653,999, from about 1933. 140,000 1939 approximately. 200,000 1947 perhaps, also some outsiders for Selfixes. Thus the Stewartry Definexes are No212- 213,000 typically from 1946-7. 250,000 1960 approximately.

It will be interesting to see how these guesses can be improved. It seems that Ross were absorbed into Avimo in 1975 and effectively lost their separate existence then after some 145 years production. The trade name has since been applied apparently to imported binoculars of oriental origin.

Fig 33 Anastigmat Lenses by Zeiss and Zeiss-Ross. Exposure: Q9 type lens of unknown make 6in overall, with 10.5in rear cell. Back Row 433mm f8.0 Zeiss; 272mm f8.0 W/A Zeiss ; 315mm f7.2 Zeiss; 315mm f7.2 Zeiss + caps and Wh stops, No151x; 315mm f7.2 Zeiss-Ross. Middle Row 140mm f18 Zeiss + box; 120mm f9 Zeiss-Ross; 120mm f8.0 Zeiss-Ross110mm f8.0 Zeiss in alloy; 98mm f12 Zeiss-Ross; 141mm f16 Zeiss-Ross; 170mm f6.3 Zeiss. Front Row 112mm f18 Zeiss with disc stops; 212mm f18 Zeiss with mm iris scale; 112mm f18 Zeiss with no iris, ex-MoD; 110mm f18 Zeiss mm iris scale; 85mm f18 Zeiss, mm iris; 141mm f18 Zeiss Ross with disc iris; 112mm f16 Zeiss-Ross; 86mm f16 Ross (No22948x).

Rothschild, D.A. He was the initiator of the Ilford Witness, and a small number (Prototypic?) of Daron lenses were made for it. Daron f2.9 50mm, This lens had an M39x26 thread but with an interrupted thread so it could bayonet into the camera threads which were also interrupted, and had an unusual depth of focus scale. It has been noted twice at serial numbers about No94x. One of these is illustrated in the review in MCM April 1951. Central resolution was better than 70llpmm.

W. Rouch & Co, 180, Strand and 43, Norfolk St., London. They were camera makers, but there is no sign that they did more than deal in lenses, possibly adding their name on them. Extra Rapid Portrait Lens: These were made for CDV in 4.75in, and in 6.5in, and up to 1/1plate and 10x8in. Instantaneous Double Aplanatic f7.0 3.125, 5.0, 7.5, 8.5, 10.5, 13.75, 15.5, 19in. Instantaneous Doublet This may be the same as the next item. It was noted as a 5x4in lens No686x on a 1/4plate Eureka Detective.

Fig 007 038 Rouch and Co. RR Instantaneous Doublet for 5x4in No7153. Doublet Noted as No715x for 5x4, 822x and 824x on Eureka cameras. The first of these is a conventional RR in a brass barrel with slot for Wh stops, and fits a 1.5in fine thread mount. Note that a lens at auction at No712x was on a camera with a wet-plate option, ie pre-1880? Wide Angle Doublet This was noted at No818x for 5x4in and may be an WAR. These are all quite small serial numbers and suggest they may be uncommon.

Roussel, 3, Blvd R. Lenoir, Paris X1, France. UK agent Photax (London) Ltd, 70 Charlotte St, London W1, UK. They are a long established firm, with entries in FBB from a lens on a Jumelle in 1897 and an Antispektroscopique in 1898. Their lenses were listed on Sinnox in 1903, and the Antispektroscopique was on the Roussel Stella Jumelle in 1898, and the Stella Stereo in 1902. Their lenses have sold intermittently in the UK and their enlarging lenses were listed in a 1955 guide to the market. They were advertised by Photax in MCM 12/1950 and one of these was seen and proved to be a well made triplet, coated and with click stops. But a much wider range was made in France. This will be a fairly incomplete list.

Probably Older Types. Symmetrical Anastigmat f6.8 135mm This was noted on a on St Etienne Universal camera. Antispektroskopique This was a symmetrical anastigmat. It was used as a f7.7/120 or 130mm on early stereo cameras (1898, 1902) and on the Sylphe in1907. Early uses were on Roussel's own Rex Montis (1899, 9x12cm), etc.

Trylor Trylor f4.5 50, 75, 85, 105, 135mm The 75mm in particular was a 3-glass triplet, and can be traced back to 1912 as pairs of f6.3/85mm lenses on a Gaumont Jumelle. It was a very popular fitting to French cameras after WW2. It was used from about 1947- 1955 on Olbia Eikon-Omega TLR, Aiglon reflex. (Most used achromats.) It was also noted as a lower cost option on a Pontiac Bloc Metal 45 about 1946, and on a Press Atlas box from R. Vergue of Perreux. The serial numbers seem to be abbreviated to 4 digits eg Nr1246 in some illustrations and some seem unnumbered.Thus on a rigid bodied 6x6, the serial was Nr260,328 in the illustration. An 85mm version was used on the long paper roll Le Maton camera for 24x30mm in 1930. As an enlarging lens, it was noted in B.J.A. 1951, p242 at £3.92 + Tax £1.70. The mount was praised and the definition was 'excellent' even at full aperture. Then it was as f4.5 in 50, 75, 105, 135mm all coated, click stop and 'specially computed' so they will have been adjusted for use in enlarging.(idem ibid, p469 advert.)

Fig 030 004 Roussel Trylor f4.5/105mm No322,835.

Trylor f6.3 100mm (1955), 54-270mm prewar. Trylor f3.9 50mm This was used on a simplified Pontiac Baby Lynx about 1950 on, for Central Photo, and is scarce. Note f3.9 is found on some other French lenses postwar and they just may be of this type. Trylor f3.5 f3.5 (1955)

Eletar f3.5 75mm This was the best and rarest Roussel lens on the Press cameras. f4.5 It was also used for the specification of an enlarging lens in the Photax advert. above in f4.5 (50, 75, 105, 135mm) and f6.3 (85, 105mm) where it was listed with a Kynor f3.5/50mm. Roussel lens f3.5 27mm for Stylophot Microcolor f3.5 25mm on SIMDA Panorascope stereo for 16mm film, in lens pairs. An article by P-H Pont has pointed out that this is actually more complex. The first cameras had 3-glass lenses from Roussel in 1956 but these were upgraded with a P.Angenieux f3.5/25mm lens in 1958, and these coincide with the grey covering. The Roussel lenses seem to be unnumbered.

Stellor Stellor f5.7 This was noted on an aerial camera by Gallus in 1927. Stylor f3.5 35-300mm Q15 type, for general use. A Stylor f3.5/51mm was used on the Debrie Sept when noted by the B.J.A. 1926, p196. (This was a short run 35mm movie and still camera. It was noted as an f3.5/50mm lens eg No42,58x, on the Debrie Sept in 1922 onwards, and has been noted at Nos38,46x 38,95x, 8,83x, 39,80x, 42,58x, 42,72x, and 43,19x. Stylor f4.5 50-400mm a Q15 type. Stylor f5.7 75-200mm Q15 type. Stylor f6.3 50-500mm, Q15 type. A 270mm version was noted on a tail board camera at No43654x. (This may be the Series 3G f6.3/85mm No37,57x (2x) fitted to a Gaumont stereo camera.) A pair were used at f6.3/85mm Nos 29,31x on a E. Caillon 6x13cm Le Bioscope Stereo noted at auction. Stylor f3.5 35-300mm noted as 50mm, Q15 for Debrie Sept, eg at No40,24x. An f3.5/50mm Stylor was used on a wooden Debrie 35mm Interview camera. Orthostylor f4.5 210mm This was noted at No43,66x as the lens on a Lorillon Tropical 13x18cm camera. Xyzor f7.0 22mm on XYZ subminiature.

Kynor Kynor f3.5 20-100mm This was for 35mm movie and was a 3-glass Triplet It has been noted as a f3.5/75mm lens in a B&J list and No65,97x was on a 9.5mm Pathe. Kynor f3.5 90mm This was on the Ontoflex 3.25x2.25in rollfilm reflex, being in a heavy helical thread mount, driven by a side knob. This seems a rather wide angle and may have needed a special design. Now see Orthokynor below. There just could be confusion here. Orthoskynor f3.5 90mm Noted at No229,52x on an Ontoflex TLR (1939, etc) with a viewing lens by Berthiot, Ontor f3.5 No315,98x. The OrthKynor was an alternative to the Berthiot Flor on the Ontoflex, the surprising thing being that both French lenses were 90mm while when Zeiss Tessars were fitted, some at least were 105mm and others were 90mm as is a f4.5 shown in Vial's book. NB The need for the prefix Ortho on these two is not apparent now. cf Orthostylor. Kinor This was possibly an ?alternative spelling of the above, on a f3.5/50mm lens probably about 1921.

Kior This seems to be a Roussel lens on a Kinax (1947)

Kylux Possibly a series of projector lenses made over a long period 1920-1952, as f1.5/17mm, f2.5/20mm for 8mm, and f3.5/? for 9.5mm. TeleMicrocolor f3.5 50mm This was used on the Mundus Color 16mm still camera.(1954) There was also a f2.5/25mm interchangable lens. "Special" f3.5 25mm on a Simda Panorascope for 11.7x20mm (1955). (See also Microcolour above.)

Robert Widmer, (ROWI), Neuberg/Donau, W. Germany. The agent for UK was Photo-Science, 168, Wandsworth Bridge Rd, Fulham, London S.W.6, UK. Rowi supplied a range of flash guns, camera clamps, slide holders and an enlarger, and this used a Wilon coated f4.5/2in lens of unknown source- presumably made for Rowi by Will of Wetzlar. (B.J.A. 1959, advert. p59). These do turn up today as separate items.

Royal Optik, Frankfurt a. Maine, Germany. An unknown maker, with just one lens known. Luminar f1.8 55mm It seems to be early postwar, with a slight increase in focus to allow the increased aperture. It is a scarce lens for M39x26, Leica coupled and was seen at No20,11x. It may well be that production began at No20,001. Note that the USA agent for Leidolf is 'Royal' and this might just be a pointer. Fig 010 072 Royal Luminar f1.8/55mm No20,113 for M39.

G. Rudenberg, Jun., Hannover, Germany. This name was noted on a single specimen of a f6.3/165mm Geroplan Doppel Anastigmat, which seems to be a Dagor type design. The shutter is a dialset tangential Compound No136,389, and possibly it seems to be about 1910. Later a f6.3/65mm Beroplan was noted in a list, so they may have made more types of lens than is apparent here.

Ruo Optik, Optical Werke Rudersdorf-Berlin, Germany also Simon and Co, Berne, Switzerland. There is confusion here, and the firm may have moved or one may be the agent of the other. The items will be listed follows. For a guess, the Berne address seems a newer one. The abbreviation seems to be RUO for Rudersdorf Optik and the name Stefan Jasienski may also to be associated. They are little known in the UK probably as they were major and specialist movie lens makers over the period when they were most active, and the products are highly rated on the Continent of Europe. One opinion is that they are third in frequency among collectible movie lenses, after Zeiss and Ernemann.

Iricentor f6.8 18cm This seems to be a Dagor type anastigmat, in a black brass mount, marked with the Berlin address. Frerk says this was a really good design and the mount was also very good. Fig 008 040 Optical Works Rudersdorf- Berlin Iricentor f6.8/18cm No 11,169 in barrel.

Ruo Anastigmat Acomar f4.5 15, 18cm noted. This was a fast anastigmat for camera and for enlarging, and a 15cm lens is used for a 9x12cm plate, or 13x18cm closed down. Tular f6.8 This was a triplet, of good quality and low price and one of the first triplets to be introduced. Hekistar f3.5 A portrait triplet based on the Cooke design, but also used as an outdoor lens, with 15cm for 9x12cm. A 210mm was noted in a B&J list. This typically was a large format lens and Frerk illustrates it on a Nettel Press, probably 9x12cm. But this would more likely be 165 or 150mm. Ruo Anastigmat f2.0 This was about the first of the f2 lenses, and one of the super speed lenses Frerk discusses from the 1920's. It seems to have been a triplet derivative. The first user was Engineer Vehl in Berlin, with Stefan Jasienski in Berne soon after. Ariel lists two f2/42mm lenses on 1920's cameras, including an Askania, and one ? on a projector. There was also an f3.5/50mm and an f2.5/50mm also from the 1920's. Ruo Vorsatz Linsen A series of front lenses for close-up, etc. Ruo Tele Anastigmat f7.5 This was covered by D.R.P.316,246, and was a full anastigmat. The designer was Hugo Hahn (to 1924), and it seems to have used a Cooke triplet type with a 2 glass rear element, with lenses made for f7.5, f6.3 and finally f4.5 (1925). Ruo Tele f4.5 This may be the later version of the above, with 5 glasses, and is listed in Frerk in 1926. It was mentioned in T.L.J. Bentley, B.J.A. 1930, p199, as the first of the faster Continental tele lenses placed on the market in 1925.(App060) and from Berne,listed in 1909(?): Objective f1.5 a lens with a complex structure. Caleinar f1.5 50mm This was described as also complex. The 50mm was fitted to an 1917 Ernemann in the Ariel list. One of these had a f1.5/5cm No23,65x. A Ruo Caleinar f1.5/4cm No2150x to D.R.P.461083 was noted on a very rare 1/2 frame 35mm at auction. Ruo Anastigmat f3.5 60mm on Sico camera (Rudersdorf Anastigmat) Ruo Kino f2.5 75mm This was in a mount for Eyemo Mitchell in a 1960 2nd hand list. A f2.5/2in Ruo was mentioned in B.J.A. 1930, p239.where a multi-portrait system was based by A. Jaschke on movie equipment. Slow film, f6.8 aperture and a 10x8in negative as an interneg. are used, and a sharp lens! Acomar f4.5 18cm This is described as a Rudersdorp Acomar Ruo anastigmat, this seems to relate 3 entries. Rudersdorp (f) A.G. It may be this is related to the above, ie an f for a p. It is noted for the SICO anastigmat f3.5/6cm noted at No677x on a 35mm Sico camera, No5x from Simon, Switzerland.

Russia The layouts of some Russian lenses are shown on page 37b of the diagrams. It is only an initial attempt to list a large and important field. Although Russian lenses have sold well in the UK for many years, the structure of the industry is not well understood, and therefore they will be listed as far as they are known under one source as if Russia was the maker- not unfair since at that time the economy of the USSR was run in a very centralized style as if it was all one firm. There are several other general points. One is the relative absence of large format cameras there. A few 6x9 Super Ikonta copies, the Moskva, with Industar lenses, aerial survey lenses, and presumably process lenses are about the lot, though one 300mm Q15 type has been seen. There was little advertizing industry as known in the West, and very big blow-ups were used for placards and slogans, from small originals. Thus the early establishment of the FED factory making an M39x26 type camera is more important than it might be elsewhere. It is often assumed in print that these lenses are all interchangable with Leica, but this is not so- many have threads which fit Fed and Zorki cameras, but are very tight on Leicas- possibly due to the establishment of standards in USSR from a worn camera, or a gradual shift to a fitting that was convenient to them but not a match for the original. Thus any attempt to mix brands must be with caution, and with the recognition that they, as it were, speak different languages. Later there was a Kiev industry developed around a camera which was based on the 1936 Contax camera. Here the same thing occurred, as the mounts of the Kiev lenses can be rotationally loose on the original camera. The society was also one where the development of new consumer products had less emphasis than in the West, so that a product remained current for long periods if it was felt to be sound. Thus a 1950 Kiev and a 1979 one can be very little different. Finally they seem to have taken over the prewar Zeiss Contax lens programme with very little optical change though the mounts were different, and made it for many years. This initially showed excellent taste, but they used the designs long after they were obsolete in the West due to modern Gauss and other designs. And they commonized these between different models in production in a way that would not be done in the West. According to W. Frerk (MCM 1959, p78) photographic optics in the USSR was nil up to 1917, but after the new state was created there was a State Optical Institute under Prof D.S. Wollosov and Dr E.G. Jachontov and this cooperated with the Mechanical Works at Krasnagorsk for the production of miniature lenses. (A correspondent says lenses were in production here from 1942 and that a major interest is tailor-made lenses for the Russian space industry- as well as the movie camera. Also Zenith Zorki Horizon Narciss cameras were from here.) An older firm seems to have been GOMZ (Gosudarstvennyi Optiko-Mechanicheskii Zavod of Leningrad. (This is said to be from about 1925-1928 and evolved into the producer of Industar lenses and the biggest lens producer in Russia.) This source says these made the bulk of Russian lenses, perhaps all of them, except that Kiev may have made the Kiev [Contax type] lenses. Which again raises the question who ground the glass for them- Jena perhaps? Another factor was the formation of the FED lenses and cameras from 1932/1934 and it is not known how the lenses were designed- but they are said to have been produced at Kharkov with the bodies. Production of FED lenses stopped understandably in 1939 or so and recommenced postwar with FED f3.5/50mm lenses in collapsible mounts. But by the Fed 2b they were beginning to use rigid 'new design' lenses. Later the Krasnagorsk factory was to produce the Krasnagorsk movie camera and the Zorki M39 camera. Jupiter lenses for Kiev were certainly available by the early 1950's but there were minor differences in codes and finishes, and early lenses can often be recognized by the red-filled "pi" sign indicating coating. The Arsenal works was the Kiev plant and produced Kiev (Contax type) cameras from 1947 as Kiev 2 and from 1949 as Kiev 3, a later break being the introduction of sync. as the "a" models in 1956. Later the front rim was slightly modified (1970's?) and finally the Kiev 5 introduced with a major glass front to the top panel. As with many makers, the names of designers are scant, but one is Prof. Radionov, who designed the f2.8/32mm Minitar on the Lomo, a camera which has developed a following in the West. An account of the Russian scene is given in M.J.Small's book, especially as it relates to M39 and 35mm lenses. In another note, Small notes that Rubin is a very important lens maker , previously known as Optical glass Works at Lytkarino, near Moscow, or Stekla, and a KMZ off-shoot, making eg MTO mirrors and speciality lenses for Russia. The logo is a circle/triangle. Items can be co-produced at KMZ and Lytkarino and have the Krasnagorsk label. Prewar for Fed (Named as Fed) Note Fed was initially VOOMP= Pioneer for 1933-4, a scarce version. These carried the VOOMP version of the FED lens, for some 300 bodies- no lens data noted. f4.5 28mm scarce. One of these was engraved as 'Hektor f4.5/28mm lens'. f3.5 50mm collapsible, Q15 type. The first version seems to be called VOOMP for 50 cameras, and was noted at No14-6 at auction. f3.5 50mm This was a deep throw macro mount to 1:2 ratio. These were solid brass mounts of real quality, but the optics seem less successful. f2.0 50mm This was a Gauss type, and is not common, Q18 type. f6.3 100mm These were in a rigid brass mount, and were probably tele Q24 type. Fig 012 015 Fed lenses in M39. (l) f6.3/105mm No38,260; f3.5/50mm No7647; (r) f3.5/50mm close focus. Of these the 50mm f3.5 is the only one easy to find in the West, but others are coming in as relations ease. One series of real collector interest is the lenses engraved as if they were German originals, but this is a specialist area to collect. These are one of the first real "fake" lenses. A 1955 list still has the 28mm f4.5, 50mm f2 and 100mm f6.3, as well as a 50mm f6.3 Copying lens. (Aperture limited?)

Sport Reflex This dates from about 1935/6 and was sold with 2 lenses to judge from auction lists- the usual was Industar-10 f3.5/50mm, noted at No628x: also noted are Jupiter-10 f3.5/50mm at 638x but these may not be too different.

Post WW2 The main feature was the introduction of the "Jena Type" lenses, and these seem initially to be for Zorki in a 1955 list. They included the 7-glass f1.5/50mm, 28mm f6.0 Orion but also for Leningrad a f2.5 35mm URAN lens and an f2.8 80mm Industar. Normally the Industar was a 4-glass Q15, and the 35mm may be to the original "Zeiss Biogon patent". Most of them were in production by the 1950's and especially by 1959 when a rather complete set of structures was announced. That year, the USSR had a major show at the Brussels World Exhibition, with Zorki, Fed, Kiev, Leningrad (motor drive with M39 mount), Zenith, Cometa (semi-auto exposure) and Yunost on show. f5.6 20mm Russar MR-2 This is an extreme wide angle lens with matching finder for M39. It seems to be to the original Russar design, and is the smallest of a series where the larger ones are used for large format aerial survey work. (See Russinov's original Patent Brit Pat. 640,232/1950). Russar is a sound lens but that seen was best stopped down a bit to even up exposure and sharpness. It was seen at No 05,710 in a black finish mount. (Rus016) f6.0 28mm Orion-15 This was rather after the Topogon of Zeiss in design, a Gauss with deep curves. It is now a relatively scarce lens. It was seen at No 6,201,12x in white still coded -15 in 1975. (Rus001), also No640.66x and 650,12x. M39 owners have made use of it as a budget 28mm for screw cameras. f4.5 28mm These can be labelled as (fake) "Hektor" This has been noted as a 'funny' for Fed. f2.8 35mm Jupiter-12 at least to 1975. This is a rather common type, based on the 1936 Biogon. Chrome or black. It was seen at No7,503,26x in black, 5,905,67x in white. (Rus002) f3.8 38mm Jupiter-81.These are on the Stereo Fed. f3.5 50mm Industar This replaced the prewar Fed lens, and is common. Q15 type. An Industar-10 f3.5/50mmhas been noted at No15,64x. f2.8 50mm Industar. This is a new rare earth glass version with much improved performance. (Rus003) This drawing is a generalized one for the Industar-26, f2.8/50mm; Industar-22, f3.5/50mm and Industar-50, f3.5/50mm. The difference of the -22 and -50 is not known but may be in the use of new glass or in the mount. Later Industars for Fed are N-61, f2.8/53mm and may be further revised. f2.8 55mm Industar 61LD This seems also to be a Fed lens. It was noted on a Fed 5B at No9,162,41x. f2.0 50mm Jupiter-8/8M These lenses were seen on M39 screw, and as Jupiter-8M when on Kiev, in 1963, 1975. This is a common lens, based on the Sonnar. These were made in chrome or black finish, when the number may be on the side of the barrel and here it does not seem to begin with digits suggesting the date- the Kiev lenses do seem to, eg. at No 7,468,32x on body 7,410,53x. but the M39 ones include one seen at No0,223,64x in black, 7,418,73x in chrome. (Rus004). Others may have the date, as with No5,942,769, which is a 1:2 F=5cm in a rigid white barrel, with unuasually a protruding finger knob at the side for focusing. Alderson in Photographica gives 1957 as the date for the conversion from the Jupiter 8 to the Jupiter 8M which was used at least on Kiev bodies until replaced by the Helios 103 about 1980. (The additional coding M may show improved coating as the external curves of 8 and 8M lenses seem to be the same or not measurably different.) Note that at least one camera, the TSVVS used original Zeiss Jena f2 Sonnars, eg at No3,060,22x. f2.0 50mm Jupiter- 17 This seems to be a rarer version, (Rus005) possibly related to a prewar development lenses at Jena (Zei 072, 074) but with changes. f1.5 50mm Jupiter-3 This is much scarcer, based on the old Sonnar, and may have gone out of production as film speeds were raised. Seen in chrome at No510,66x.(Rus006) This has a red filled "pi" sign, to show it is coated (a 1950's touch?) and is heavy, possibly due to the use of brass. This was normally for Kiev but also rarely for M39. f2.8 53mm I-61 This was a black Q15 type lens with rare earth glass. Seen at No8,823,97x (Rus003) f1.8 Helios-103 53mm black Gauss type design. A replacement for the Sonnar types. This was seen at No8,384,58x with a neutral coat color. f1.5 85mm Helios-40 chrome This is probably not for Fed, only for SLR's. Gauss type lens. It was seen at No 633,05x in white. (Rus014) f2.0 85mm Jupiter-9 These were made in chrome or black, near the old 85mm Sonnar in design. This was officially a portrait lens. (Rus007). It was still -8- in 1974-1976. f4.0 135mm Jupiter-11 white alloy or possibly chrome, near the old Sonnar in design. (Rus008) It is a really common version. All those seen were coded -11 and the coating was very strongly purple in the 1950-1970 period but later is almost neutral in 1976 on No7,603,28x. It was officially a long focus lens. f2.8 180mm Jupiter 6 This was noted with M39 thread but Zenith SLR register, and may be the Russian equivalent of the Zeiss Jena Olympia Sonnar. It was noted in a white mount, and as a quite old lens, seemingly without the type of serial number coded for the year, as it was too short. It is a really unusual item in the West although it may have been made in quantity in the USSR. f4.5 300mm Tair-3 A triplet for Zenith and also used in the Photosniper outfit. Some lists say it is 4 glass but that seen seems to be an unusual 3-glass design (triplet? or telephoto?) and possibly unique to the Russian series, and it was used for many years. (Rus009) It takes a 72mm filter. It was seen as "No720939 TAIR-3 4.5/300A" and seems to show 3 reflexions in front of the iris and only two behind, so the drawing may avoid showing the cemented surface at the front, ie it is in a sense a UNO type lens? f8.0 500mm MTO500 mirror system. (Rus010) ] The mounts do vary and the optics also f10 1000mm MTO1000 mirror system. (Rus011)] may change with time. MTO reached USA through the Spira organization in 01/1964. It was well received, though Modern Photo said adequate rather than excellent (08/1965). The imports had T-mounts, and other changes to suit the West. It was not fittable to Nikon Photomic and there were some compatibility limitations. In the UK it was often used with the matching Zenith SLR with its M39 screw thread. Note the centre spot slows it down, and it really works at about f10. (Amateur Photo. 04/12/1963.) In modern Photo 07/1971 p63 there is a note that mirrors can be knocked out of alignment and a reader seems to have bought a defective one secondhand. Others have had this experience so it is one to test before paying. One in the UK even had a complete double image. But it should be added that this is probably due to damage well after sale on what are often now quite old items. Some of the cements used to fix mirrors are known to lose grip with time.

Periscope An impressive military periscope (enamelled in khaki) with a matching Zorki 4 of 1956 was sold in London in c.1997. The periscope gave 6x and 30x vision and the unit may well reflect German designs of WW2 and explain some of the ex-services cameras with special adaptors or locating cutouts noted.

The lenses which matched the Contax series have external curves which are very close to the originals- probably nearer than a separate redesign would give. Zeiss personel were taken to Kiev to get the plant running and there is a possibility that Jena were involved in making glass for them. The mounts are distinctively Russian in origin. They were initially in white, probably alloy varnished, and later matt black. Performance can be really good and they are a cheap way to get some feel of what the originals could do, but remember these are coated and now much newer. Early coats were in fact pretty soft, and can now be well abraded, but later ones are much harder.

Chronology The lens serial number have long been thought to incorporate the year in the first two digits. Some examples from the quality control certificates supplied with lenses support this idea. Thus: Lens Serial No Date of Cert. MTO500 No65,66x 30/09/1965 MTO1000 No870,39x 23/04/1987 Jupiter-11 No7603,28x --/09/1976 Jupiter-12 No7601,80x --/04/1976 Jupiter-12 No7503,268 --/05/1975 same No7606,73x --/04/1976. These certificates and the black plastic keepers are a desirable additional item on purchase.

The Horizont panoramic camera used a OF or OP/28P lens, noted at Nos 135x, 280x, 471x, 518x, 633x, 648x, 835x, 849x, 975x, 91063x. The FT-2 panoramic used an f5/5cm Jupiter-50. The Narciss SLR for 16mm film used an Industar f2.8/35mm, noted at No085x, or a Bera-M-1f2.8/35mm at No482x and No532x. A Jupiter f5.6/50mm No906x was noted on a document copier unit from the 1950's.

An early list for the Zenith SLR was as follows: Mir-1 f2.8 37mm This was a retrofocus lens with essentially a Biometar-type rear with a negative in front.(Rus012) This may again show postwar Jena design influence. Industar-50 f3.5 50mm, Q15. Helios-50 f2.0 50mm This seems to have existed but been extended as the next. The 50mm may have been for rangefinder only. (Rus013) Helios-44 f2.0 58mm, Q18. Jupiter-9 f2.0 85mm Triplet derivative.f1.5/85mm Helios-40 chrome f1.5 85mm This is not for Fed, only for SLR's, especially the M39 mount Zenith. It has been adapted however in the West to Nikon and other cameras. It is a Gauss type lens. (Rus014) This was seen at No 633,05x in white. It is very heavy for the mount and can be stiff as a result, and can be awkward as the finger grip on the focus has to be quite narrow due to the optic. Jupiter-11 f4.0 135mm same Telemar f5.6 200mm 4-glass type, scarce, and not seen. Tair-3 f4.5 300mm, Triplet, Q14. Seen at No 720,93x, black for Zenith. Gost 5.317-69 Zenitar f2.8 16mm for Pentax K mount, late type. Rubin-1 ZOOM f2.8 37-80mm for Zenith 4/5/6 cameras. This looks very much like a Zoomar as used on the Bessamatic, the layout is close to the flat front Zoomar, and the Zoomar will actually fit in place of the Rubin on the Zenith, as the bayonet is the same. The Rubin zooms by rotation of a control ring so the old push-pull tuba effect is lost. Rubin is said to be optically best at 37m, less good at 80mm, the opposite of the Zoomar. See also Voigtlaender. The older leaflet (about 1959) quotes resolutions at full aperture in microns as follows (centre, then edge): 28mm f6;45/18: 35mm f2.8; 34/12: 50mm f3.5; type -22,32/20; type -50; 38/22, 50mm f2.0 (both); 30/14: 50mm f1.5; 30/14: 85mm f1.5;32/16: 85mm f2.0; 30/18: 135mm f4.0; 34/19: 300mm f4.5; 36/30: Mto 500, 35/20. Also Mir-1; 45/23;Helios-44; 35/14. It also refers to MP-2 Super Wide Angle lens f5.6/20mm a Merkuri f2.0/50mm and Gekios-40 f1.5/85mm, without detailing them. Gekios is likely to be Helios-40, and the Merkuri either a Gauss type or the unusual Jupiter-17. A Russar MR-2 at f5.6/20mm became standard later, as above. A modern lens is the Belomo f2.8/17mm (Peleng Fish eye Lens) for M42, etc.

By 2000 there were new trade names. The agent was now the Widescreen Centre, 48 Dorset St, London W1h-3FH. A review was in Am Photo 08 and 11 01/2000. Peleng or Pelling f3.5 8mm for the Zenith 122B SLR This is from Belarus in M42 or for Nikon fit. It was rated as excelent in the centre and good outside it like all of the type. Arsat f2.0 50mm in Nikon type mount only. It was rated as an amazing bargain on Kiev 19MSLR at £25 Yashma f2.8 300mm This was made in the Ukraine, and proved to be a very good lens especially at a price far below the opposition. MTO mirror f10 1000mm This was continued into 2000 and seems very little changed from examples of the 1980's. It is known to be 'individual' in performance and the one seen by the Am. Photo in 15/01/2000 p39 may not have been one of the best ones. Even so it was rated as really satisfying. Folders. There were a range of folding rollfilms sold as Moscow with eg. N-24 (Industar?) f3.5/105mm lenses noted at No036,22x.

Monorail A modern monorail Pakypc (Rakurs?) has been noted with Bera-24 f4.0/210mm No102x; Bera-23 f3.5/150mm NoN045x; Mnp-41 f5.6/90mm No91004x. A Vega f6.8/250mm has been noted in a sale list.

Cine Lenses. Type 10-24 f1.9 12.5mm on 1960-3 cameras, Krasnagorsk. Type T-40 f2.8 10mm on 1962 Lomo Smena f4.0 40mm T43 lens Smena f4.5 40mm T22 lens Minitar 1 f2.8 32mm This is the lens on the Lomo LC-A camera and is a nice wide angle, with a turn of speed now uncommon in cheap compact cameras. The message on the Internet says "designed by Prof. Radionov". Meteor Zoom 5-1 f1.9 17-69mm about 1976. This is a 16mm filming lens It was noted on Krasnagorsk-3 reflex 16mm in B.J.P. 10/08/1979 p770 at £444 + VAT inc camera. Meteor-8M f1.8 9-38mm on 1973 Krasnagorsk 8mm. Meteor-3 f2.4 9-36mm A lens of this specification was noted in 06/1967 in a Quartz ZM camera. The matching projector was a: Luch projector with a f1.5 15/25mm zoom. Industar-50 f3.5 50mm ex-Arsenal Works. T-51 f2.8 10mm for 1969 Leningrad Lomo-8mm Vega-7 f2.0 20mm on 1965 Krasnagorsk. OMO 18mm V O Mashpriborintorg 8mm (Anon) f2.8 35mm for Narciss miniature SLR. for Vera f3.5 25mm ex Kiev. Lomo f1.8 50mm for Almaz 103 SLR. Zenitar f2.8 16mm This is in Pentax K mount for a new generation of Zenith cameras.

A list for 6x6cm Kiev 88 in Sept 1994 is: Zodiak Fish f3.5 30mm A fish eye design, this lens can cover 83mm dia. if on 5x4in and could be useful on large format for some 180°. (R.Hicks, B.J.P. 19/11/1997, p28.) Mir f3.5 45mm rectilinear retrofocus. Mir f3.5 65mm This is 6-glass in a 1972 list for Zenith 80. Vega f2.8 120mm Kalenar f2.8 150mm Telear f5.6 250mm Jupiter f3.5 250mm For the Kiev 60, they were Volna-3 and Industar 29, both f2.8/80mm, f3.5/30mm. For Moskva, f4.5 11cm Industar-22, 4-glass, (MCM Sept 1955, p348.)

For TLR's Komsomolyets f6.3 80mm, 3-glass triplet, MCM 9/1955. Lubitel, f4.5 75mm, 3glass (same source).

For Rakurs-672 6x9 monorail (listed 1997) f3.5 90mm f3.5 150mm f4.5 210mm Large Format Some large format lenses were made, such as a f4.5/300mm Q15 type made at No59,114 ie in 1959 in a substantial brass mount. It may have been used for big groups and formal portraits, copying etc. It is said to be sharp and seems a fine lens. Fig 022 002 Russian (prism make= Krasnagorsk?) f4.5/300mm Industar 37 ctd. No59,114.

There will be aerial lenses. One noted was an f2.5/100mm, possibly coded JFAN 27 or the like, in cyrillic.

Fig 18 Russian Lenses for Kiev. Back Row Jupiter f2.0/50mm + Kiev 111 f1.8/53mm + Kiev 111 Jupiter f2.0/85mm. Jupiter f4.0/135mm. Front Row Jupiter f2.8/35mm Orion f6.0/28mm Jupiter f1.5/50mm Russar f5.6/20mm Industar N-61. Fed f3.5/50mm Macro. Fed f6.3/100mm. Fed f3.5/50mm.

Russinov, Russia. He was an important Russian designer who separated the external negative glasses in wide angle lenses and later applied the Slussareff principle to them to even up the illumination from them. Fall-off can improve from about cos 4 to cos3 theta. See Russar (Fr Pat. 93561x). Merte gives a drawing for this lens with nearly flat external surfaces and a relatively larger front diameter (roughly Rus015): this seems realistic but may differ from others seen. The glasses were G1 +8= 1.5100; G2+ 7= 1.7172; G3+6= 1.5399; G4= 1.5480; G5= 1.5484(?). Merte refers to and illustrates the earlier lens as the "Liar 6" of 1933 by Russinov and Kosyrev, for 100° at f5.4 which was later redesigned by Russinov as the "Russar-16" for 60mm f12 to cover 126°. This is likely to be Rus016.